Leonardo Rodrigues Santos artistic visions and work ethics Acerca de Migrating spaces Leonardo was born in Salvador da Bahia, Brazil. Growing up in an atmosphere of mystical history and lore inspired to interact with the world through dance. The complexity of early education in south America drove Leonardo´s interest in many directions, and it is the base of my complex artistic identity. Carreer as a dancer and dance creator: The artist entered their first international dance company in Salvador da Bahia in 97. The Balé do Teatro Castro Alves offered a space to work with renowned contemporary choreographers and open their horizons touring abroad in Germany, Asia, the Middle East, and South America (Brazil) at the end of the '90s. In 2002, Leonardo decided to move to Graz, Austria, where they worked for the Opera Graz . Leonardo encountered Daniela Kurz joining the team of the Tanztheater Nürnberg . In the East Franconian city, their interest in the fusion of dance theatre and politics was stoked. Consequently, their attention was drawn to the field of dance education and performance, establishing themself as a freelance artist in 2009. and creating pieces for the Staatstheater Nürnberg , the Neues Museum Nürnberg and dance festivals in Brazil. Some collaborations involved the Théâtre National de l’Opéra Comique in Paris, Grand Théâtre de Genève, Staatstheater Berlin, Staatstheater Darmstadt, and Steptext Projects in Bremen. In addition, Leonardo worked and performed productions directed by Yoshi Oida former Peter Brook company member. Leonardo drew his inspiration from choreographers such as Rui Horta, Javier de Frutos, Stijn Celis, André Gingras, Rodolfo Leoni, Jorma Elo, Lionel Hoche, Jorge Silva, Luiz Arrieta, Jonathan Lunn, and Jean Renshaw. Leonardo has collaborated intensively with CocoonDance as a choreographic assistant, researching creations and co-directing the Junior Company in Bonn. Meanwhile, the artist performed for Paula Rosolen/Haptic Hide in Frankfurt and Tokyo and Marcelo Evelin/Demolition Incorporada residence in Teresina/Brazil. In February 2019, Leonardo started cooperating with Iván Pérez as rehearsal director and choreographic assistant for the Dance Theatre Heidelberg . Since 2021, Leonardo has continued their growing interest in developing their personal work and collaborations, including a residence with Laura Hicks and production support and partnership for projects with the company Inter-Actions and Migration Hub Heidelberg . Dance dissemination Aiming to develop artistically, Leonardo completed a Master of Arts in Contemporary Dance Education in the MA CoDE program at the Frankfurt University of Music and Performing Arts with several scholarships. My final study project was a dissertation seeking to inquire how labour market changes affect programs in higher dance education in Germany. As a dance instructor, Leonardo focuses strongly on somatic approaches, release techniques and body alignment while developing his classes through teaching eclectic target groups. He also delivered professional training at Mousonturm in Frankfurt, ZAIK in Cologne, at the DOCH – School of Dance and Circus at Stockholm University of Arts, North Karelia College Outokumpu, Finland, and the Fundação Cultural do Estado da Bahia (FUNCEB), Brazil. MA Dance Education Effects of Labour Market Changes on Professional Dance Education A Case Study By Leonardo Rodrigues Santos Abstract Developing in concert with the EU and the Bologna reforms, the professional dance education system in Germany is clearly connected to the field it means to serve as it prepares students to become professional dancers. Leonardo’s dissertation seeks to inquire how labour market changes affect programmes in higher professional dance education in Germany. Changes are already apparent during the early stages of BA studies, and hence that is the focus of this research. Looking at the financial support for the cultural and Creative industries and its effects on the German market, the research then examines the pragmatic effects on two dance programmes — the BAtanz\ZuKT at Frankfurt University of Music and Performing Arts (HfMDK Frankfurt) and the BA in Dance, Context, and Choreography at the Inter-University Centre for Dance Berlin (HZT) — conducting interviews not only with professionals from the labour market but also educators and students from the two programmes. By evaluating the programs in relation to market parameters, this study examines how themes such as employability, networking, and entrepreneurship are included in the educational discourse of both programs.

(AT) When It Falls: L’Enfer, C’est Les Autres is a powerful interdisciplinary dance research inspired by Jean-Paul Sartre's Huis Clos, delving deeply into themes of perception, identity, and movement within an immersive environment. This contemporary piece provocatively highlights existential confinement, using imagination as an essential creative tool. For the dancers, imagination unlocks the potential to break free from rigid movement structures, fostering a profound sense of creative freedom and fluidity. It allows the audience to shift perspectives, reimagine space, and deepen their understanding of the performance. In this way, imagination becomes an instrument that reshapes identity and interpersonal relationships. To think about our bodies is to think beyond the individual; it is to acknowledge the entanglement of people, environments, and the invisible currents that shape our interactions. This performance is an encounter between performers and a collective act of inhabiting space together—a commitment to presence, reciprocity, and permeability. This research project is rooted in a strong multidisciplinary collaboration between Baden-Württemberg artists and international partners, fostering a creative dialogue between regional and global perspectives. By engaging artists from diverse backgrounds, When It Falls: L’Enfer, C’est Les Autres builds an artistic bridge that transcends borders, generating a dynamic exchange of ideas, methodologies, and aesthetics. By centring fluidity, we challenge fixed hierarchies and normative ways of relating to one another. We create a space where movement is not imposed but emerges, where identities are not defined but felt, and where boundaries are permeable. This inclusive approach ensures that everyone—performers and audience alike—feels not only welcomed but integral to the experience. The work unfolds in shared time, propelled by a current of connection, making visible the invisible forces that bind us.

Impresssum Leonardo Rodrigues Santos U2, 1A 68161 Mannheim Germany Phone: +491789302249 Email: leonardo.rodrigues.santos.lrs@gmail.com Website: www.leonardo-rodrigues-santos.org Images: Gabin Corredor, Marina Terechov, Dance Theatre Heidelberg, CocoonDance. Privacy Policy We are very delighted that you have shown interest in our enterprise. Data protection is of a particularly high priority for the management of the Leonardo Rodrigues Santos. The use of the Internet pages of the Leonardo Rodrigues Santos is possible without any indication of personal data; however, if a data subject wants to use special enterprise services via our website, processing of personal data could become necessary. If the processing of personal data is necessary and there is no statutory basis for such processing, we generally obtain consent from the data subject. The processing of personal data, such as the name, address, e-mail address, or telephone number of a data subject shall always be in line with the General Data Protection Regulation (GDPR), and in accordance with the country-specific data protection regulations applicable to the Leonardo Rodrigues Santos. By means of this data protection declaration, our enterprise would like to inform the general public of the nature, scope, and purpose of the personal data we collect, use and process. Furthermore, data subjects are informed, by means of this data protection declaration, of the rights to which they are entitled. As the controller, the Leonardo Rodrigues Santos has implemented numerous technical and organizational measures to ensure the most complete protection of personal data processed through this website. However, Internet-based data transmissions may in principle have security gaps, so absolute protection may not be guaranteed. For this reason, every data subject is free to transfer personal data to us via alternative means, e.g. by telephone. 1. Definitions The data protection declaration of the Leonardo Rodrigues Santos is based on the terms used by the European legislator for the adoption of the General Data Protection Regulation (GDPR). Our data protection declaration should be legible and understandable for the general public, as well as our customers and business partners. To ensure this, we would like to first explain the terminology used. In this data protection declaration, we use, inter alia, the following terms: a) Personal data Personal data means any information relating to an identified or identifiable natural person (“data subject”). An identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person. b) Data subject Data subject is any identified or identifiable natural person, whose personal data is processed by the controller responsible for the processing. c) Processing Processing is any operation or set of operations which is performed on personal data or on sets of personal data, whether or not by automated means, such as collection, recording, organisation, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure by transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction. d) Restriction of processing Restriction of processing is the marking of stored personal data with the aim of limiting their processing in the future. e) Profiling Profiling means any form of automated processing of personal data consisting of the use of personal data to evaluate certain personal aspects relating to a natural person, in particular to analyse or predict aspects concerning that natural person's performance at work, economic situation, health, personal preferences, interests, reliability, behaviour, location or movements. f) Pseudonymisation Pseudonymisation is the processing of personal data in such a manner that the personal data can no longer be attributed to a specific data subject without the use of additional information, provided that such additional information is kept separately and is subject to technical and organisational measures to ensure that the personal data are not attributed to an identified or identifiable natural person. g) Controller or controller responsible for the processing Controller or controller responsible for the processing is the natural or legal person, public authority, agency or other body which, alone or jointly with others, determines the purposes and means of the processing of personal data; where the purposes and means of such processing are determined by Union or Member State law, the controller or the specific criteria for its nomination may be provided for by Union or Member State law. h) Processor Processor is a natural or legal person, public authority, agency or other body which processes personal data on behalf of the controller. i) Recipient Recipient is a natural or legal person, public authority, agency or another body, to which the personal data are disclosed, whether a third party or not. However, public authorities which may receive personal data in the framework of a particular inquiry in accordance with Union or Member State law shall not be regarded as recipients; the processing of those data by those public authorities shall be in compliance with the applicable data protection rules according to the purposes of the processing. j) Third party Third party is a natural or legal person, public authority, agency or body other than the data subject, controller, processor and persons who, under the direct authority of the controller or processor, are authorised to process personal data. k) Consent Consent of the data subject is any freely given, specific, informed and unambiguous indication of the data subject's wishes by which he or she, by a statement or by a clear affirmative action, signifies agreement to the processing of personal data relating to him or her. 2. Name and Address of the controller Controller for the purposes of the General Data Protection Regulation (GDPR), other data protection laws applicable in Member states of the European Union and other provisions related to data protection is: Leonardo Rodrigues Santos U2, 1A 68161 Mannheim Germany Phone: +491789302249 Email: leonardo.rodrigues.santos.lrs@gmail.com Website: www.leonardo-rodrigues-santos.org 3. Cookies The Internet pages of the Leonardo Rodrigues Santos use cookies. Cookies are text files that are stored in a computer system via an Internet browser. Many Internet sites and servers use cookies. Many cookies contain a so-called cookie ID. A cookie ID is a unique identifier of the cookie. It consists of a character string through which Internet pages and servers can be assigned to the specific Internet browser in which the cookie was stored. This allows visited Internet sites and servers to differentiate the individual browser of the dats subject from other Internet browsers that contain other cookies. A specific Internet browser can be recognized and identified using the unique cookie ID. Through the use of cookies, the Leonardo Rodrigues Santos can provide the users of this website with more user-friendly services that would not be possible without the cookie setting. By means of a cookie, the information and offers on our website can be optimized with the user in mind. Cookies allow us, as previously mentioned, to recognize our website users. The purpose of this recognition is to make it easier for users to utilize our website. The website user that uses cookies, e.g. does not have to enter access data each time the website is accessed, because this is taken over by the website, and the cookie is thus stored on the user's computer system. Another example is the cookie of a shopping cart in an online shop. The online store remembers the articles that a customer has placed in the virtual shopping cart via a cookie. The data subject may, at any time, prevent the setting of cookies through our website by means of a corresponding setting of the Internet browser used, and may thus permanently deny the setting of cookies. Furthermore, already set cookies may be deleted at any time via an Internet browser or other software programs. This is possible in all popular Internet browsers. If the data subject deactivates the setting of cookies in the Internet browser used, not all functions of our website may be entirely usable. 4. Collection of general data and information The website of the Leonardo Rodrigues Santos collects a series of general data and information when a data subject or automated system calls up the website. This general data and information are stored in the server log files. Collected may be (1) the browser types and versions used, (2) the operating system used by the accessing system, (3) the website from which an accessing system reaches our website (so-called referrers), (4) the sub-websites, (5) the date and time of access to the Internet site, (6) an Internet protocol address (IP address), (7) the Internet service provider of the accessing system, and (8) any other similar data and information that may be used in the event of attacks on our information technology systems. When using these general data and information, the Leonardo Rodrigues Santos does not draw any conclusions about the data subject. Rather, this information is needed to (1) deliver the content of our website correctly, (2) optimize the content of our website as well as its advertisement, (3) ensure the long-term viability of our information technology systems and website technology, and (4) provide law enforcement authorities with the information necessary for criminal prosecution in case of a cyber-attack. Therefore, the Leonardo Rodrigues Santos analyzes anonymously collected data and information statistically, with the aim of increasing the data protection and data security of our enterprise, and to ensure an optimal level of protection for the personal data we process. The anonymous data of the server log files are stored separately from all personal data provided by a data subject. 5. Comments function in the blog on the website The Leonardo Rodrigues Santos offers users the possibility to leave individual comments on individual blog contributions on a blog, which is on the website of the controller. A blog is a web-based, publicly-accessible portal, through which one or more people called bloggers or web-bloggers may post articles or write down thoughts in so-called blogposts. Blogposts may usually be commented by third parties. If a data subject leaves a comment on the blog published on this website, the comments made by the data subject are also stored and published, as well as information on the date of the commentary and on the user's (pseudonym) chosen by the data subject. In addition, the IP address assigned by the Internet service provider (ISP) to the data subject is also logged. This storage of the IP address takes place for security reasons, and in case the data subject violates the rights of third parties, or posts illegal content through a given comment. The storage of these personal data is, therefore, in the own interest of the data controller, so that he can exculpate in the event of an infringement. This collected personal data will not be passed to third parties, unless such a transfer is required by law or serves the aim of the defense of the data controller. 6. Subscription to comments in the blog on the website The comments made in the blog of the Leonardo Rodrigues Santos may be subscribed to by third parties. In particular, there is the possibility that a commenter subscribes to the comments following his comments on a particular blog post. If a data subject decides to subscribe to the option, the controller will send an automatic confirmation e-mail to check the double opt-in procedure as to whether the owner of the specified e-mail address decided in favor of this option. The option to subscribe to comments may be terminated at any time. 7. Routine erasure and blocking of personal data The data controller shall process and store the personal data of the data subject only for the period necessary to achieve the purpose of storage, or as far as this is granted by the European legislator or other legislators in laws or regulations to which the controller is subject to. If the storage purpose is not applicable, or if a storage period prescribed by the European legislator or another competent legislator expires, the personal data are routinely blocked or erased in accordance with legal requirements. 8. Rights of the data subject a) Right of confirmation Each data subject shall have the right granted by the European legislator to obtain from the controller the confirmation as to whether or not personal data concerning him or her are being processed. If a data subject wishes to avail himself of this right of confirmation, he or she may, at any time, contact any employee of the controller. b) Right of access Each data subject shall have the right granted by the European legislator to obtain from the controller free information about his or her personal data stored at any time and a copy of this information. Furthermore, the European directives and regulations grant the data subject access to the following information: the purposes of the processing; the categories of personal data concerned; the recipients or categories of recipients to whom the personal data have been or will be disclosed, in particular recipients in third countries or international organisations; where possible, the envisaged period for which the personal data will be stored, or, if not possible, the criteria used to determine that period; the existence of the right to request from the controller rectification or erasure of personal data, or restriction of processing of personal data concerning the data subject, or to object to such processing; the existence of the right to lodge a complaint with a supervisory authority; where the personal data are not collected from the data subject, any available information as to their source; the existence of automated decision-making, including profiling, referred to in Article 22(1) and (4) of the GDPR and, at least in those cases, meaningful information about the logic involved, as well as the significance and envisaged consequences of such processing for the data subject. Furthermore, the data subject shall have a right to obtain information as to whether personal data are transferred to a third country or to an international organisation. Where this is the case, the data subject shall have the right to be informed of the appropriate safeguards relating to the transfer. If a data subject wishes to avail himself of this right of access, he or she may, at any time, contact any employee of the controller. c) Right to rectification Each data subject shall have the right granted by the European legislator to obtain from the controller without undue delay the rectification of inaccurate personal data concerning him or her. Taking into account the purposes of the processing, the data subject shall have the right to have incomplete personal data completed, including by means of providing a supplementary statement. If a data subject wishes to exercise this right to rectification, he or she may, at any time, contact any employee of the controller. d) Right to erasure (Right to be forgotten) Each data subject shall have the right granted by the European legislator to obtain from the controller the erasure of personal data concerning him or her without undue delay, and the controller shall have the obligation to erase personal data without undue delay where one of the following grounds applies, as long as the processing is not necessary: The personal data are no longer necessary in relation to the purposes for which they were collected or otherwise processed. The data subject withdraws consent to which the processing is based according to point (a) of Article 6(1) of the GDPR, or point (a) of Article 9(2) of the GDPR, and where there is no other legal ground for the processing. The data subject objects to the processing pursuant to Article 21(1) of the GDPR and there are no overriding legitimate grounds for the processing, or the data subject objects to the processing pursuant to Article 21(2) of the GDPR. The personal data have been unlawfully processed. The personal data must be erased for compliance with a legal obligation in Union or Member State law to which the controller is subject. The personal data have been collected in relation to the offer of information society services referred to in Article 8(1) of the GDPR. If one of the aforementioned reasons applies, and a data subject wishes to request the erasure of personal data stored by the Leonardo Rodrigues Santos, he or she may, at any time, contact any employee of the controller. An employee of Leonardo Rodrigues Santos shall promptly ensure that the erasure request is complied with immediately. Where the controller has made personal data public and is obliged pursuant to Article 17(1) to erase the personal data, the controller, taking account of available technology and the cost of implementation, shall take reasonable steps, including technical measures, to inform other controllers processing the personal data that the data subject has requested erasure by such controllers of any links to, or copy or replication of, those personal data, as far as processing is not required. An employees of the Leonardo Rodrigues Santos will arrange the necessary measures in individual cases. e) Right of restriction of processing Each data subject shall have the right granted by the European legislator to obtain from the controller restriction of processing where one of the following applies: The accuracy of the personal data is contested by the data subject, for a period enabling the controller to verify the accuracy of the personal data. The processing is unlawful and the data subject opposes the erasure of the personal data and requests instead the restriction of their use instead. The controller no longer needs the personal data for the purposes of the processing, but they are required by the data subject for the establishment, exercise or defence of legal claims. The data subject has objected to processing pursuant to Article 21(1) of the GDPR pending the verification whether the legitimate grounds of the controller override those of the data subject. If one of the aforementioned conditions is met, and a data subject wishes to request the restriction of the processing of personal data stored by the Leonardo Rodrigues Santos, he or she may at any time contact any employee of the controller. The employee of the Leonardo Rodrigues Santos will arrange the restriction of the processing. f) Right to data portability Each data subject shall have the right granted by the European legislator, to receive the personal data concerning him or her, which was provided to a controller, in a structured, commonly used and machine-readable format. He or she shall have the right to transmit those data to another controller without hindrance from the controller to which the personal data have been provided, as long as the processing is based on consent pursuant to point (a) of Article 6(1) of the GDPR or point (a) of Article 9(2) of the GDPR, or on a contract pursuant to point (b) of Article 6(1) of the GDPR, and the processing is carried out by automated means, as long as the processing is not necessary for the performance of a task carried out in the public interest or in the exercise of official authority vested in the controller. Furthermore, in exercising his or her right to data portability pursuant to Article 20(1) of the GDPR, the data subject shall have the right to have personal data transmitted directly from one controller to another, where technically feasible and when doing so does not adversely affect the rights and freedoms of others. In order to assert the right to data portability, the data subject may at any time contact any employee of the Leonardo Rodrigues Santos. g) Right to object Each data subject shall have the right granted by the European legislator to object, on grounds relating to his or her particular situation, at any time, to processing of personal data concerning him or her, which is based on point (e) or (f) of Article 6(1) of the GDPR. This also applies to profiling based on these provisions. The Leonardo Rodrigues Santos shall no longer process the personal data in the event of the objection, unless we can demonstrate compelling legitimate grounds for the processing which override the interests, rights and freedoms of the data subject, or for the establishment, exercise or defence of legal claims. If the Leonardo Rodrigues Santos processes personal data for direct marketing purposes, the data subject shall have the right to object at any time to processing of personal data concerning him or her for such marketing. This applies to profiling to the extent that it is related to such direct marketing. If the data subject objects to the Leonardo Rodrigues Santos to the processing for direct marketing purposes, the Leonardo Rodrigues Santos will no longer process the personal data for these purposes. In addition, the data subject has the right, on grounds relating to his or her particular situation, to object to processing of personal data concerning him or her by the Leonardo Rodrigues Santos for scientific or historical research purposes, or for statistical purposes pursuant to Article 89(1) of the GDPR, unless the processing is necessary for the performance of a task carried out for reasons of public interest. In order to exercise the right to object, the data subject may contact any employee of the Leonardo Rodrigues Santos. In addition, the data subject is free in the context of the use of information society services, and notwithstanding Directive 2002/58/EC, to use his or her right to object by automated means using technical specifications. h) Automated individual decision-making, including profiling Each data subject shall have the right granted by the European legislator not to be subject to a decision based solely on automated processing, including profiling, which produces legal effects concerning him or her, or similarly significantly affects him or her, as long as the decision (1) is not is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) is not authorised by Union or Member State law to which the controller is subject and which also lays down suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, or (3) is not based on the data subject's explicit consent. If the decision (1) is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) it is based on the data subject's explicit consent, the Leonardo Rodrigues Santos shall implement suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, at least the right to obtain human intervention on the part of the controller, to express his or her point of view and contest the decision. If the data subject wishes to exercise the rights concerning automated individual decision-making, he or she may, at any time, contact any employee of the Leonardo Rodrigues Santos. i) Right to withdraw data protection consent Each data subject shall have the right granted by the European legislator to withdraw his or her consent to processing of his or her personal data at any time. If the data subject wishes to exercise the right to withdraw the consent, he or she may, at any time, contact any employee of the Leonardo Rodrigues Santos. 9. Data protection provisions about the application and use of Facebook On this website, the controller has integrated components of the enterprise Facebook. Facebook is a social network. A social network is a place for social meetings on the Internet, an online community, which usually allows users to communicate with each other and interact in a virtual space. A social network may serve as a platform for the exchange of opinions and experiences, or enable the Internet community to provide personal or business-related information. Facebook allows social network users to include the creation of private profiles, upload photos, and network through friend requests. The operating company of Facebook is Facebook, Inc., 1 Hacker Way, Menlo Park, CA 94025, United States. If a person lives outside of the United States or Canada, the controller is the Facebook Ireland Ltd., 4 Grand Canal Square, Grand Canal Harbour, Dublin 2, Ireland. With each call-up to one of the individual pages of this Internet website, which is operated by the controller and into which a Facebook component (Facebook plug-ins) was integrated, the web browser on the information technology system of the data subject is automatically prompted to download display of the corresponding Facebook component from Facebook through the Facebook component. An overview of all the Facebook Plug-ins may be accessed under https://developers.facebook.com/docs/plugins/. During the course of this technical procedure, Facebook is made aware of what specific sub-site of our website was visited by the data subject. If the data subject is logged in at the same time on Facebook, Facebook detects with every call-up to our website by the data subject—and for the entire duration of their stay on our Internet site—which specific sub-site of our Internet page was visited by the data subject. This information is collected through the Facebook component and associated with the respective Facebook account of the data subject. If the data subject clicks on one of the Facebook buttons integrated into our website, e.g. the "Like" button, or if the data subject submits a comment, then Facebook matches this information with the personal Facebook user account of the data subject and stores the personal data. Facebook always receives, through the Facebook component, information about a visit to our website by the data subject, whenever the data subject is logged in at the same time on Facebook during the time of the call-up to our website. This occurs regardless of whether the data subject clicks on the Facebook component or not. If such a transmission of information to Facebook is not desirable for the data subject, then he or she may prevent this by logging off from their Facebook account before a call-up to our website is made. The data protection guideline published by Facebook, which is available at https://facebook.com/about/privacy/, provides information about the collection, processing and use of personal data by Facebook. In addition, it is explained there what setting options Facebook offers to protect the privacy of the data subject. In addition, different configuration options are made available to allow the elimination of data transmission to Facebook. These applications may be used by the data subject to eliminate a data transmission to Facebook. 10. Data protection provisions about the application and use of Instagram On this website, the controller has integrated components of the service Instagram. Instagram is a service that may be qualified as an audiovisual platform, which allows users to share photos and videos, as well as disseminate such data in other social networks. The operating company of the services offered by Instagram is Facebook Ireland Ltd., 4 Grand Canal Square, Grand Canal Harbour, Dublin 2 Ireland. With each call-up to one of the individual pages of this Internet site, which is operated by the controller and on which an Instagram component (Insta button) was integrated, the Internet browser on the information technology system of the data subject is automatically prompted to the download of a display of the corresponding Instagram component of Instagram. During the course of this technical procedure, Instagram becomes aware of what specific sub-page of our website was visited by the data subject. If the data subject is logged in at the same time on Instagram, Instagram detects with every call-up to our website by the data subject—and for the entire duration of their stay on our Internet site—which specific sub-page of our Internet page was visited by the data subject. This information is collected through the Instagram component and is associated with the respective Instagram account of the data subject. If the data subject clicks on one of the Instagram buttons integrated on our website, then Instagram matches this information with the personal Instagram user account of the data subject and stores the personal data. Instagram receives information via the Instagram component that the data subject has visited our website provided that the data subject is logged in at Instagram at the time of the call to our website. This occurs regardless of whether the person clicks on the Instagram button or not. If such a transmission of information to Instagram is not desirable for the data subject, then he or she can prevent this by logging off from their Instagram account before a call-up to our website is made. Further information and the applicable data protection provisions of Instagram may be retrieved under https://help.instagram.com/155833707900388 and https://www.instagram.com/about/legal/privacy/. 11. Legal basis for the processing Art. 6(1) lit. a GDPR serves as the legal basis for processing operations for which we obtain consent for a specific processing purpose. If the processing of personal data is necessary for the performance of a contract to which the data subject is party, as is the case, for example, when processing operations are necessary for the supply of goods or to provide any other service, the processing is based on Article 6(1) lit. b GDPR. The same applies to such processing operations which are necessary for carrying out pre-contractual measures, for example in the case of inquiries concerning our products or services. Is our company subject to a legal obligation by which processing of personal data is required, such as for the fulfillment of tax obligations, the processing is based on Art. 6(1) lit. c GDPR. In rare cases, the processing of personal data may be necessary to protect the vital interests of the data subject or of another natural person. This would be the case, for example, if a visitor were injured in our company and his name, age, health insurance data or other vital information would have to be passed on to a doctor, hospital or other third party. Then the processing would be based on Art. 6(1) lit. d GDPR. Finally, processing operations could be based on Article 6(1) lit. f GDPR. This legal basis is used for processing operations which are not covered by any of the abovementioned legal grounds, if processing is necessary for the purposes of the legitimate interests pursued by our company or by a third party, except where such interests are overridden by the interests or fundamental rights and freedoms of the data subject which require protection of personal data. Such processing operations are particularly permissible because they have been specifically mentioned by the European legislator. He considered that a legitimate interest could be assumed if the data subject is a client of the controller (Recital 47 Sentence 2 GDPR). 12. The legitimate interests pursued by the controller or by a third party Where the processing of personal data is based on Article 6(1) lit. f GDPR our legitimate interest is to carry out our business in favor of the well-being of all our employees and the shareholders. 13. Period for which the personal data will be stored The criteria used to determine the period of storage of personal data is the respective statutory retention period. After expiration of that period, the corresponding data is routinely deleted, as long as it is no longer necessary for the fulfillment of the contract or the initiation of a contract. 14. Provision of personal data as statutory or contractual requirement; Requirement necessary to enter into a contract; Obligation of the data subject to provide the personal data; possible consequences of failure to provide such data We clarify that the provision of personal data is partly required by law (e.g. tax regulations) or can also result from contractual provisions (e.g. information on the contractual partner). Sometimes it may be necessary to conclude a contract that the data subject provides us with personal data, which must subsequently be processed by us. The data subject is, for example, obliged to provide us with personal data when our company signs a contract with him or her. The non-provision of the personal data would have the consequence that the contract with the data subject could not be concluded. Before personal data is provided by the data subject, the data subject must contact any employee. The employee clarifies to the data subject whether the provision of the personal data is required by law or contract or is necessary for the conclusion of the contract, whether there is an obligation to provide the personal data and the consequences of non-provision of the personal data. 15. Existence of automated decision-making As a responsible company, we do not use automatic decision-making or profiling. Developed by the specialists for LegalTech at Willing & Able that also developed the system for dpo training . The legal texts contained in our privacy policy generator have been provided and published by Prof. Dr. h.c. Heiko Jonny Maniero from the German Association for Data Protection and Christian Solmecke from WBS law.

Interviews with dance artists and performers on the topic Body Territory. Body Territory Interviews This section contains three interviews intended to hear distinct artists elaborating ideas about Body Territory. Beginning the interview asking for their first thoughts when they hear the words Body Territory, very different concepts arise, from post-humanistic, fluid female perspectives to social-cultural contexts. I am not trying to elaborate a scientific research. Instead, I want to offer the possibility of opening the space for investigations that can still go on beyond body social constructions. How could it be possible to imagine the territories of the body without a thorough examination of what the body is? What is its extent, its transformations, and how is it perceived and affected by and affecting the surrounding? For this reason, these interviews focus on people with the body as a primary focus in their work. I am still far from acquiring all answers with these interviews. These three examples will not speak for everyone. I cannot generalize "people's skin colour, body shapes, abilities, features and sex/gender" (R. Longhurst). But I can tackle the topic of body territory from different angles and share deep questions and reflections regarding our own body, the other’s body and the bodies in our environment. Meet The Interviewees Body Slime Metaphor Pêdra Costa Pêdra Costa, a groundbreaking, formative Brazilian visual and urban Anthropologist, Performer and Tarot Reader based in Berlin, in an interview under the theme Body Territory, opens our senses to perceive a “nature call,” emphasizing the importance of new spaces in arts with a focus on dance. In-Habit-Body Amna Mawaz In an interview focused on the perspective of Body Territory, Amna´s Mawaz, appointed choreographer from the Pakistan National Council of the Arts, author and performance director, discusses complex ideas about the Body and its transformation. The Mind/Body Dualism Rzouga Selmi In the third interview on Body Territory, Rzouga Selmi, aka Shayama AlQueer, a Tunesian Queer Refugee, Activist, Dragqueen, and DJ, reveals their perspective on body boundaries and their cultural narrative. Pedra, Anna, and Rzouga are conscious of their body transformation through the mobility in geographical spaces and how they construct their bodies as artists in dialogue with their audience. These intriguing interviews open possibilities to evolve the notion of body boundaries. Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Mail Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

An interdisciplinary investigation between dance and photography. Boundary Expansion a photographic performance collaboration with Marina Therechov My performative images express notions of expansion, spillage, and the porous nature of the body. They are a journey embarked upon by a subject yearning to connect with their desires, multiply, and establish a profound relationship with their surroundings. They expand the body's horizons, free from the confines of reason and thought. Outpouring tracing and locating the body Body territory 097 Body territory Image 2023-05-26 at 21.22.21 Body territory 106 Body territory 276 Body territory 381 Fluids, the very essence of life, run through our bodies. In this project, I imagined a subject, a symbol of the creation and renewal of life, who experiences the natural processes of escaping liquids and emotions. I allude to the inability to contain these life-giving fluids and the accompanying emotions - to what flows. Always in the background, I challenge the aversion to this natural state, often associated with a perceived lack of control, order and strength. Bodily boundaries the liminal places where the exteriority and interiority of bodies merges Texture 1 Textures 2 texture 3 texture 4 Texture 5 Body territory 308 Body territory 145 Body territory 263 Body territory 024 Body territory 247 Seeping in which ways can the body expand ? Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

A dance practice and movement investigation focusing on body´s pourosity and leaks. Body Territory Practicing the Act of Dancing Together A reflective dance pr oject encompassing interviews, workshops and images. Dance is directly connected with the body, which plays a significant role in how people experience other bodies and places – their t erritories. The project aims to expand notions towards the Body. The starting point for this project comes from a personal curiosity for a more profound understanding towards the Body and, consequently, heightening perception and relation to other bodies. What is contained in the body beyond what we can see and know? Moving on to this question, some concepts related to the material and immaterial body's territory appear – movements, expressions, desires and dreams. In practice, we interact through touch, mapping the body, observing how we relate to one another, and we use dance to uncover the invisible layers of the body – imagination. The title Body Territory finds its inspiration in the poetry of actor Alex Melo, contributing as a researcher in the initial stage of movement exploration. It was a deliberate choice to combine the words "body" and "territory" to symbolize a body that is immensely valued and nurtured. "Body Territory" aptly encapsulates the essence of the dance practices I advocate, which are rooted in the profound sensuality of the human body. Body Territory Territory as an occupation. Territory as communication! Street, look, cross, cross territory. Laroyê! Territory taken, tamed, ploughed, fertile territory. Undermined territory, loved territory, hated territory, appropriated territory. Breathing in the territory's space. Territory giving birth to echoes. Fragments of memories, stories, bones, flesh, blood, sweat, and saliva... Saliva and sweat, sweat and saliva. The black, the indigenous, the white... The one you don't even know yet. Sprouting in the batuque, in the catuque, in the quizomba, and in the quizila of inventing oneself. Belonging. To be a body in a territory, a body as a territory. The territory of the body Alex Mello Why the use of dance for this project? Dance can bring full awareness of a body with many ways to practice it. At the moment, I aim to strengthen sensory awareness. Sensations can transform movement qualities and the state of bodies presence. The senses are like sources feeding the body's needs, boosting movements, and a vessel to let the body express itself to the world. This project states that the mind and its associations with rationalities, such as theoretical, must be connected with the body and its associations with irrationality and sensory movement. Video edition and narration: Alex Mello Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

In an interview on Body Territory, Rzouga Selmi, aka Shayama AlQueer, a Tunesian Queer Refugee Activist Dragqueen, DJ residing, and a debutant in the contemporary dance field, reveals their perspective on body boundaries and their cultural narrative. The Mind/Body Dualism A perspective on body boundaries and cultural narratives An interview with Rzouga Selmi on the topic of Body Territory - January 11, 2023 In the third interview on Body Territory, Rzouga Selmi, aka Shayama AlQueer, a Tunesian Queer Refugee, Activist, Dragqueen, and DJ, reveals their perspective on body boundaries and their cultural narrative, reveals their perspective on body boundaries and their cultural narrative bringing into question if it is possible to separate bodies and spaces? What comes to your mind when you hear the words Body and Territory? I can hear them together, body territory in the sense that the first thing that will ring my bells would be personal space. That is the "me" time and how close I let people near, whether emotionally or physically. I'm a person who church the aura of everyone and my aura. In a sense, like every energy that radiates out of me, I also consider it within its physical aspect. So for you to invade my space, and my body doesn't always have what to do, necessarily, with touching or hugging me when I was not expecting it, or things like this. It also gets to visualize people's, let's say, spiritual or virtual presence as well. It is so strong in my mind that the idea I visualize is also material. That is the first thing it says my body for granted. Of course, I would feel it when you touch me. I would feel it when you do something to my body. And I will also feel it when you plot or think of like doing something nice to my body or not; and the personal space, like don't, don't get in my space and get in my energy; don't get in my zone; you can name it a lot of things. But that's one of the first things that cross my mind that I can develop from there as a thought. And then, of course, there is the idea of territory on its own that can also relate to feeling home, a home feeling we. But then also can discuss, or I can say that home is not necessarily physical and what's like territories borders. Land could also be the place that you can call home if you're comfortable at or got used to or told your brain to consider this, for now, or lifetime or lifespan home. You are approaching concepts of boundaries and personal space. You even describe the spiritual presence of other bodies and your ability to materialise this presence. How does the materialisation of this presence affect your body? It's also when people plot bad things for me or people are being toxic around me that sometimes I can feel bad. It's also my energy, my spirituality, and then also my nerves. So if you are wrecking my nerves, it means you are doing something to my body. If it's not in the good direction, it'll piss me off, and it feels like it's crossing my body. How did your understanding of personal space evolve through the years you lived abroad, considering aspects of temporality and geographical perception? It brought a different understanding, like being from a crossing or changing cultures, travelling from one country to another, or being based in other spaces gives you a different understanding of personal space; growing up, people understood physical space only when it's bothering. But it's from their perspective. Grow up in a family where you too can hug to show love, even if the person is not upset or something, but the person wants their personal space. We still think it's okay to allow us to go and hug the person to comfort them. But they have an understanding of it that it could be invasive or something like this. Then there is the same way, but just people respect personal space and the person's privacy. Some people do ́t, also here in Europe. There are places where people have more accessibility to awareness concepts and everything, but people still turn it back to their perspective. So you find a lot of people here where they can feel it's okay to touch your face, or it's okay to touch a person's hair saying, – yeah, yeah, I know it's not harmful, or I know that it's harmful, but it's not that harmful.–I kno w that you tolerate. So they start assuming their understanding of privacy is what applies to me and my body and my space. It happens when we skip thinking of what the other person thinks because we have other aspects of boundaries where people are trying to exceed that. It's a matter of not needing to step and being in the other shoes but also saying, okay, let me think how maybe the shoes would feel in the sense that people should step back before the first hug and ask or think if it's okay to hug or if it's even okay to ask. That's like a dreadful and thoughtful idea of setting boundaries, borders, and differences between where I was and where I'm today. In your answers, elements of presence and energy play a crucial role as agents in territory-making. How would you perceive these elements constituting your territory? It'd be required more or less for you too—energy and presence, for people to understand that there is a space and boundaries to be respected. Is that with energy, I start to radiate the feeling of not wanting to be approached. So there's energy that you produce inside, a determination: I would say you projected outside of your body and that delivery of the energy is the presence you need. It comes and goes. People should train a lot for this because you cannot sit down and say, I have my boundaries. I have my physical space. I have my limits to myself and others, but then not being, working on respecting them myself and trying to educate or push people, if we may say, to respect your boundaries. There is some degrading feeling to it. There it'll be considered as if the person is not present. And it's not about being an extrovert; it's not about communicating, it's not about talking, it's not delivering the message that you don't want to be. So it doesn't need, it doesn't require for you or, it doesn't require anyone to be outspoken and loud or something. Because I also have this false conclusion about people who are introverts or people who don't communicate well or don't deliver messages well, whether they are weak people, and that's why their boundaries are not accepted. But there is also the bare minimum that people could do to have others understanding about their personal space. Limits are also a considerable element of personal space and boundaries, self-boundaries and self-respect, and respect. Suppose people keep pushing you to exceed your limits and to exceed to step out of your boundaries. Sometimes it's challenging and adventurous, but sometimes it pushes people not to be who they are or something like this. That's also not the most respectful thing to do. You are confident that people are unaware of exceeding individual boundaries. How do you reflect on that aspects when you personalise two characters? Who needs to negotiate more its presence in space, you or your drag Shayma? Shayma requires way more space, but don't ask for so much space. It's given. I knew my personal, private, and boundaries would be like a Zhouga because Shama is more social; it's her job. It's very open and more smiley than Zhouga. But there is this diva element to my drag character that people understand more boundaries than I expected. Because with Shayma, there is a vast presence of energy and attitude, and confidence. I play on female or illusion. So my drag is a drag. There is, you can, you can spot part of the drag. Meaning that I'm there to be a drag queen; I'm there to be an actor. I'm there to be a character. I'm there to serve an image. The image of something that inspires a lot from women inspires a lot from sex workers and minorities. All of the things that if I'm not as Zhouga, I used to be and have done. For people to be intimidated by my presence or something is not invasive. It's just fierce, and I'm flattered. I'm flatter. Thank you for understanding that or offering all of this space for the Diva I'm presenting in front of you, but I do not require it. It'll be there, nevertheless. Impression Rzouga's interview reflects on the duality of characters, a drag personalized as a woman and a queer body living in Southwest Germany in Baden-Württemberg. This drag-body and refugee-body transit into space and time; expands its notion of how body and spaces are socially constructed and are not separable (Longhurst, 2001). In addition, Zhrouga brings valuable ideas and concepts about how to live in a society together. Bringing to visibility what is first not seen by the eyes –the body boundaries denominated by the state of mind. The interview demonstrates how system conditions such as nervosity, cultural assumption of space permission, and aspects of intimacy play a crucial role in understanding personal space. Bibliography: Longhurst, Toby. Bodies exploring fluid boundaries, Routledge , London, 2001. Echeverri, J. A. Territory as body and territory as nature: Intercultural dialogue? In A. Surrallés & P. García-Hierro (Eds.), The Land Within: Indigenous territory and the perception of environment, Copenhagen: IWGIA, 2005. Sara Smith, Nathan W Swanson and Banu Gökarıksel. Territory, bodies and borders. Department of Geography, University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3220, USA, 2015. Rodaway, Paul. Sensuous Geographies, body, sense and place. Routledge, 1994. Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Please share your thoughts and ideas Mail Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

Leonardo Rodrigues Santos - LRS. A virtual archive for dance research with topics related to identity, identification, dance movement, body, and body boundaries. Dance for Thought ... is the idea that dance triggers thoughts. Dance for Thought is a website, diary, and composition designed to host the artistic creations of Leonardo Rodrigues Santos. This virtual archive collects material from dance research, workshops, and collaborations in dance. It serves a dynamic pool of ideas seeking to resignify the artist's identity.

More than a dance practice is the act of dancing, experriencing, and thinking together. Body Territory - Practicing the Act Dancing of Dancing Together The project maintains a dialogue with other professionals and people curious about dance. Observing and listening to other bodies and their relationship to the theme is crucial to evolve the practice. The intention is not to portray no one's stories but to look for points in common and strenghten relations. In this place, we can create an imaginary bridge, a vessel to disclose topics hidden behind our preconceptions or yet not discovered. Images Borders Expansions Photography - a collaboration with Marina Therechov Like almost everyone, I am not fully aware of how I appear to others while I think, feel, and speak. So, I am cautious of all these actions, which refrain my emotions to a restricted body. The photographer Marina Therechov and dancer Leonardo Rodrigues dived into a photographic performative action where fluids in a human body open up the possibility of intense emotional states. From a photographic studio in Mannheim, the artists examine how the performer could strengthen the ability of the body's movement to expand through space. . Expansions Photo: Marina Therechov Perspectives on Body Territory Interviews Read conversations with remarkable artists talking about their perspectives on Body Territory. Three people with a lot in common, people of colour, passionate about what they do as performers, migrants in Germany, and gender fluid, the interviewees talk about their bodies, conflicts, and desires in particular curious ways. Interviews Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

A ritual of empathy The workshop „A Ritual of Empathy“ is elaborated as a guided improvisational movement practice. The training aims to reinforce the body´s senses, and it evolves following the group of participants. The idea is to let intuition be the mechanism to drive movements. Regarding aesthetics, we seek a malleable body able to change, transform, and to have the ability to communicate. Photo: @Building-Actions in Heidelberg Practice In the dance workshop „A Ritual of Empathy“, Leonardo guides participants through an improvisational practice. The idea is to enhance intuition, letting body and mind work on the same level. In this way, I hope you can elaborate your concepts around boundaries in the context of individual and collective space. Concept What is contained in the body beyond what we can see and know? Moving on to this question, we play with the material and immaterial body´s territory, movements, expressions, desires and dreams. We interact through touch, scanning the body, observing how we relate to one another, and using dance to uncover the invisible layers of the body. The class will provide tasks generated as a ritualistic practice using visualization methods and sensory work. We will provoke the body to release stored experiences, potentiating desires and wishes through movement. Photo: @Building-Actions in Heidelberg Aim Participants work on their attributes of body presence and confidence engaging to the highest level of expression. Aesthetics The aesthetic of movement can vary in accordance to the participants body languages and needs. All and all, the workshop bases on fluidity. Movements that are malleable and able to change. We will together search for a body that is flexible and firm, permeable, softy and consistent.

An interview with Pêdra Costa on the theme Body Territory The Slime Metaphor Rethinking on methods for living and performing An interview with Pêdra Costa on the theme of Body Territory - April 30. 2023 Pêdra Costa, a groundbreaking, formative Brazilian visual and urban Anthropologist, Performer and Tarot Reader based in Berlin, opens our senses to perceive a “nature calling”, emphasizing the importance of new spaces in arts with a focus on dance. “Violently Happy “ from Björk is the song I recommend you to hear before, during, or after this first interview on the theme of Body Territory. What first thoughts come to your mind when you hear Body and territory? I have many images because our bodies are not free of judgment and have been targeted through centuries because of the political and economic system that we are living in. And because of this, the bodies are not equal. So we cannot talk about one body as the main body or the one body that represents all the bodies. You can talk about the representation of the most important body in society. But this body, for example, doesn't represents you and me. I'm not interested in talking about this body because of the kind of things this body brings together with it – it's a lot of violence; a lot of exclusion; a lot of rejection, and a lot of power. If I talk about my body as a territory, I am in the margins. I celebrate this kind of space. I'm not in the centre. As a queer person, I don't believe in the centre. So it makes sense for me to be in the borders, the margins, and not the centre. If you talk about territory, is the same question to the Body in which political and economic situation we live in and what kind of political project. And this political project, they create the territories because territories are about imagination, it is imaginary. They imagined territories, and they built frontiers, borders. So, for example, they named countries. Each country's a creation. They create this kind of territory. Now they draw a line, as you see on the maps, and this country has the name, a main language, and a culture. But for many people from many communities. The territory is not about the lines. It is not about the borders. It is about people. It's about the environment. It is about calling—a calling to be in that space. Your last answer makes me think about the non-areolar (indigenous) notion of territory. These communities do not use cartographical representations for defining areas or lines. What is this calling you just mentioned? A calling is our ancestor technology, right? The communities, the groups. They established themselves in this part of the world because this part of the world gives them what they need. And they created and developed a relationship with the territory. So the territory is not only the Earth but the different species around the human being. The human being is one of the species, not the most important. And then, you all want to talk about Body and Territory. There is a lot of perspective. It is like the body in to or in the territory. And then we were talking about the ancestors. The people that are gone, their bodies under the Earth. The bodies that are the territory. That made part of the territory? That becomes the territory. And these are kinds of calling in a way that I will live in a territory where the bodies of my ancestors are the territory. So I think I have these three perspectives: the body, the territory and the body in the territory. Could you reflect on experiences that triggered your body? You mention, for example, violence. How do these triggers play a role in your work today? How do they affect your work? In my creations and artwork, violence is not my main topic. I don't want to give back, let's say, the violence I suffered to distribute to the audience or others. I know that what I am going through is to create, or I want to try to make, spaces of comfort. I am working on two words nowadays for my creations: my creative mindset –it's comforting and not confronting. I try to comfort, to give space for reflection. Now this process of transformation is shaped into potency because, as a queer person, there are many kinds of violence in the world for queer people like me. And I'm not. I don't want this for my individual path. I don't want to say I don't print my way of being to the others. But in my case, I don't want to be stuck in the trauma. Trauma can be a kind of prison inside that can stop your life. You become a person based on the trauma bathed in the violence. The violence that we suffered decides what kind of person we will become. I don't want any violence in deciding for myself what I want to do, what I want to be, and what I want to create. I have become a tarot reader, and my proposal to the art market is to comfort and not confront. And because of that, I stopped a bit to make performances, and I am more engaged in creating spaces. So, in this case, my focus is not so much my body, but it is more related to the territory, to this space. Do you say that comfort for you has to do with a geographical space created for encounters? Yes. It is a kind of space for self-reflection, of self-knowledge. Let ́s say cleansing is a kind of space that people, the audience, and the visitors can feel. I want to say comfortable, it is not comfortable, but to feel present in themselves. And not, waiting, expecting, a kind of [...] not, as they say, a violent surprise. That is another thing; it is not this kind of violence. I thought about Björk „Violently Happy“. In this case, I know that my presence is violently happy. And it can be violent for some types of audiences. Being happy is violent for a lot of people. And because of this, nowadays, I'm trying to give a step back and offer a space where they can engage in the space, but they will be alone with themselves and with the artwork. And they have to react only with themselves and not overreact to my presence in this space. You talked about transformation in your work and how you transform the violence you suffered from into comfort for an audience. For this to happen, a body must be open for a transmission circuit between you and the audience. Do you think of the body as a permeable entity? It is different in each material if you talk about the rain and the earth. The rain permeates the soil. But if it is a rock, a stone, the rain will not permeate the rock but flow; it flows on the skin of the rock and the stone. But it never has a fight, or they integrate themselves, and they become a different thing, or they will flow on the skin of each order. But they will not fight [the elements of rain and stone], and I think of this kind of permeation. I was saying this to relate directly to performers and the audience. Sometimes the audience is like a rock, like a stone. They don't let any rain go through them. And some people in the audience are like soil, like the earth. The experience of the performer on stage permeates go through them. And they become something else. They become another thing. It is a good topic to talk about permeation, per se. I think you can talk about two things: permeation and permission. There is no permeation if there is no permission. As performers and dancers, we cannot guide an audience from point A to point B if they don't permit it or give authorization. So you have no agency in this case. We cannot control the audience. And then there is no permeation. Why do you often use elements of nature as a metaphor for the relationship between the performer and the audience? Yes, we are nature. My point of view is like my beliefs. I like that we are not different from nature. If I would talk about nature, I'm talking about art. Some people don't understand. What they talk about nowadays is the topic of environment, sustainability, climate change and so on. They don't know they are; they are just reproducing this mindset. It's not because they are fighting for, in a political way, as an activist, but because they are changing things if they don't change themselves. I think it made it make sense to work on it. I think maybe you will not profoundly change yourself. Oh, so in the next two years. But if you go through the topic rationally or intellectually only, I hope that one day the person will change because the person will build another path for them. But we see academically, for example, people talk about post- colonialism, de-colonial thoughts or anti-colonial practices. But at the end of the day, they are just reproducing colonialism. And it's not because you are talking about something that you become something. An anti-colonial position in the world is a natural connection with the planet. And understand the earth as an organism, as another body. And is to go through many different ways that we live in and believe nowadays. An anti-colonial position in the world is a natural-spiritual position. There is no anti-colonial position in the world without a natural spiritual position. It is impossible. You worked with fluids in the piece Gootopia by the Viennese choreographer Doris Uhrich. Can you share your experiences and discoveries when working with these specific fluids? In the whole process, for example, when I work in Gootopia with the slime, I have in my daily life different kind of sensations; I have kind of memories; my body has memories that come out; I receive memories from when I was in the belly of my mom, for example. So I have been, I become more sensitive. At the same time, [in the work process] you cannot stand up because everything is slippery, so if you cannot, like, walk. For example, it is that kind of process to have to learn another method. Because then, we are not alone. Because, as a performer and as a dancer, I am secondary. I'm not important. The star of the piece, of the choreography, is the slime. You don't work for. You work with. We work with slime. You have to become the slime to work together. You cannot control the slime. It is the same topic that you once mentioned before. It is like rain and the soil. The slime will not be the slime anymore because it will not be alone. After all, the slime transforms itself when it touches our skin because of the chemical in our skin, bodies, and slime. We become another creature, another thing because we are in contact with the slime. So, for example, dancers that are educated to have control of everything get crazy. Because they lose control, if they try to gain control, if they try to have control of the slime, they will hurt themselves. This is our experience [referring to Gootopia performers]. So your flow together with slime; you cannot control the slime. So, this is the most important learning on the process of working with slime and the process of Gootopia for me. It's like you have no control. It's like, let it go. Go with. Flow with. If you go into the slime, you will see. We need slime for everything. We need the water; we need slime in our bodies. We know about it. Like we are slime. We are slime. You do not have to think about it. We will have to lose ourselves. You lose control. You have to do this. If not, how will we touch the intelligence of slime? It's not possible. Slime is inside you; there are no slime spaces. I think it's simple, no? I understand that [the slime] are the protagonist, and you [the dancer] are the voice. So have to go with you and learn with you, and learn together what we can do. But of course, it costs a lot of energy. Because of our cultural body, we try to walk; we try to move as we move in our daily lives. But it is just impossible. We have to go like when we are a baby and walk differently. Oh, you'll have to walk as an animal. All you have to slide together like a snake, for example. You'll have to discover together over the slime what kind of movements you can do to move into today's new planet. You know, and these are profound thoughts for us. This is really, really beautiful. Impression The Slime Metaphor stresses on the terminology of Territory, formulating a relation to political power. The interview navigates towards a non-anthropocentric concept where human beings are not the most important specie. In my view, the interview proposes a concept of negotiation between bodies, sometimes referring to nature and humans, sometimes from artists and audience, and at the end, from the body to body when referring to the piece „Gootopia“ by Doris Uhrich. In this piece, there are two bodies present: performers and slime. The slime is the protagonist on stage, over the performers. Because of the presence of the slime, dancers cannot fully control how their bodies should move, and they have to negotiate their movements and be cautious not to fall on the floor. They work in equilibrating the power with the fluid substances on stage. Could this metaphor become a way to support us in rethinking new ways of living together? Bibliography: Longhurst, Toby. Bodies Exploring Fluid Boundaries. Routlege, 2001. Echeverri, J. A. Territory as body and territory as nature: Intercultural dialogue? In A. Surrallés & P. García-Hierro (Eds.), The Land Within: Indigenous territory and the perception of environment, Copenhagen: IWGIA, (2005). Sara Smith, Nathan W Swanson and Banu Gökarıksel. Territory, bodies and borders. Department of Geography, University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3220, USA, 2015. Pollack, Rachel. The body of the goddess : sacred wisdom in myth, landscape, and culture. https://archive.org/details/bodyofgoddesssac0000poll/page/2/mode/2up?view=theater, (1945). Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Please share your thoughts and ideas Mail Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

When it Falls - Duet Dance - Movement Strategy - Performance We use fluids as a metaphor to break imaginary margins and transform our understanding of space and performance. This metaphor liberates us to work with the margins between the room, audience, and performers and to see territory not as fixed but as a liberating, ever-changing concept. About When It Falls is an 11-minute duet that explores fluidity as a metaphor for bodies intermingling in space. Movement dissolves rigid structures—identities shift, boundaries blur, and bodies transform in constant negotiation. Through an interplay of presence, reciprocity, and permeability, the performance challenges categorization, embracing fluidity as a space of resistance and becoming. Images: Günter Krämmer Performance and creation: Amelia Eisen, Cencilia Ponteprimo Direction, Choreography, Creation : Leonardo Rodrigues Composition: Franco Mento Light: Leonardo Rodrigues and Georg Group Support by Theater Felina Areal and EinTanzHaus