Framewalk 2013

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LIFE CAN ONLY BE UNDERSTOOD BACKWARD BUT MUST BE LIVED FOREWARD. »It is the dichotomy of the opposites. One place, which is the classical world, offers you tradition, history.

It offers you discipline, something very sacred and spiritual, too. And the other place, the contemporary, offers you a science laboratory. It offers you your voice to be heard. It offers you numerous discoveries and possibilities. To be in a position where you can reach out to both, is the best place to be for me.« Akram Khan (programme text for Sacred Monsters) I couldn’t have said it better! Akram Khan, being one of my favourite contemporary dancer/choreographers exactly puts the essentials of my works into words.

Having taught the first and second semester 2012/13 at the School of Performing Arts I came to grasp bit by bit the widening gap between the necessity of being consciously rooted in your own culture’s tradition as well as being able to have unlimited access to the contemporary and being able to reach out to both and being allowed to do so. But somehow it didn’t seem to be as easy as I thought it was.

Watching a growing distance between the old and the new, the elderly and the younger, the past and the future in many places. Not alone only in West Africa.

Bearing in mind the Sankofa bird’s saying: life can only be understood backward but must be lived foreward. I started developing my teaching concept of binding and bonding, of relating to and with each other in and through the languages of the performing arts.

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FRAMEWALK ON THE ROAD & LAB DC 2013

LAB DC PROGRAM OF ACTIVITY / ROAD PLAN

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Sun 26-05-13 Depart Accra – Kumasi

Poetry in the Garden Performance

at Alliance Francaise Kumasi

overnight at KNUST dormitory

Mon 27-05-13 Show Day – Kumasi At 04pm at Cultural Centre Overnight at Kumasi Hostel Tue 28-05-13 Depart Kumasi to Tamale

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Overnight at TICS

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Wed 29-05-13 Show Day – Tamale

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at 12am Jubilee Park

Depart Tamale to Bolga Overnight at Asontaba Thu 30-05-13 Show Day – Bolgatanga At 05pm Bolga Girls Secondary School

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Overnight at Asontaba Fri 31-05-13 Depart Bolga to Ouagadougou Burkina Faso Overnight at Gambidi Sat 01-06-13 Show Day – Ouaga At 06pm at Théatre Gambidi Sun 02-06-13 City tour of Ouagadougou Workshop with Gambidi theatre students Mon 03-06-13 Early departure Ouaga to Kumasi Tue 04-06-13 Arrival in Accra Overnight at Legon Guest Centre Wed 05-06-13 Day off Accra

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Thur 06-06-13 Excursion to Ada

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Fri 07-06-13 Departure to Germany

Listening to and discovering for myself through my work not only the spoken languages of the people, but as well developing a higher perception for the language of actions, the language of sounds and the language of movements. Not forgetting the language of space, as in spots, places, sites. From space to scope. From a physical volume to a zone for creativity.

Seeing myself and my work as an interface and a multi tool migrating in and out of various contexts and places, talking of people, countries and contents. How could I translate my findings to my students and using which tools to do so?

I gave them subjects and ideas and I gave them responsibility.

I encouraged them to research their ideas on their own.

I shared my personal history and experience with them: One: being the foreigner who allows them to be themselves by making a foreigner out of them.

Two: supporting them in searching and trusting for or in who they are.

The dedicated, hungry students went for it and their godsend in return was an incredible augmentation in their personal artistic voice and artistic embodiment. Thus for anybody to be seen and felt in the Âťsnakes and /or laddersÂŤ performance.

Petra Kron

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FRAMEWALK ON THE ROAD & LAB DC 2013

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LAB DC »SNAKES AND/OR LADDERS« Lab dc has outlined selected performances dubbed »Snakes and/or Ladders« a multidisciplinary production based on real life situations as to whether people should live their lives by chance or by choice.

This production will be presented, transported and transformed on a road trip from Accra to Ouagadougou.

Lab dc is a non-profit, intercultural and cross-cultural program of the School of Performing Arts, University of Ghana. Initiated early last year

by German Artist and cultural anthropologist Petra Kron and developed with artists from Ghana, Nigeria, Burkina Faso, Turkey and Germany. It’s made up of students from music, dance and theatre arts departments of the University. One of the primary objectives of Lab dc is to mirror society through drama, dance and music performances thus our desire to bring this production on the road to inform, inspire and entertain.

DON’T FORGET: TECHNICAL EQUIPMENT AND INSTRUMENTS 1 GENERATOR (GÉNÉRATEUR)

1 ZACUTO Z-FINDER

1 SOUND SYSTEM

3 UV FILTER, 1 POLFILTER, 3 FADER ND

2 SPEAKERS

FILTER, MEMORYCARD, 3 BATTERYPACKS

4 MICROFONES

1 TRIPOD MANFROTTO SET 701 WITH BAG

1 ELECTRONIC KEYBOARD

1 AUDIO RECORDER TASCAM DR-100

2 BALAFONS/XYLOPHONES

1 MICROFONE RODE NTG-1

2 DRUM/DJEMBÉ

1 CAMERAMICROFONE RODE VIDEOMIC PRO

3 GUITARS

1 HEADPHONE SENNHEISER HD 25/1

1 EUPHONIUM/TUBA

2 XLR CABLE

1 SCAFFOLD/ÉCHAFAUDAGE

1 HARD DRIVE LACIE RUGGED 500GB

1 CAMERA CANON EOS7D

1 HARD DRIVE 500GB

3 LENSES/CANON EF-23-105/TOKINGA

2 MACBOOK PRO NOTEBOOKS

AF2,8/11-16 AT-X PRO DX/SIGMA AF 1,4/39 EX DC HSM

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A compound of information. Jude

Through imagination I will be able to reach out to people and share my emotions . Kathlyn I try to trust my immediate instincts. Marie-Lena

A bird who is very free and relaxed yet strong and powerful. David

An echo that reverberates and remains on the minds of peopls even after a very long time. Bella N.

Everything that I perform is a new life which I give birth to with my spirit, bring to my soul and then let live with my body. Puyan

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A resounding wave of the spirit bursts forth creating the need for my body to move to its dictates, stirring up the cheering crowd according to my engagements! Angelica ACCRA KUMASI TAMALE BOLGATANGA OUAGADOUGOU

Question of the day. Day Two.

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If your spirit WAS sound, your soul WAS movement and your body WAS words, how would you describe yourself as a performer?

A true art of muses. Nii Quaye

A spotlight shining alone on stage, everyone can see me but I can’t see the audience. Eric P.

The true reflection of the people’s needs, and a pathway to an inner balance or resolution for the audience, Wisdom

My spirit amplifies my message, my soul accentuates my message and my body communicates the message. Frank B.

A communicative tool, projecting my purpose and emotions through sound, movement and speech, to my audience. Eric A.

My spirirt inspires my soul to imagine

what my body will communicate. Comfort

My movements are the shape of the things I want to say and silence is my partner. Tyshea Loud is how I am, but I can be quick.

Fear is not in my dictionary and I say yes to every act even if challenging. Elijah My spirit speaks to my soul, which enables my body to bring it out through action, that will bring clear meaning to my audience. Abigail 10

Framewalk ON THE ROAD & LAB DC 2013

I am aspiring to connect with the audience, to deliver a message and to express myself as an individual in spite of social pressure. Paloma

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A union of these elements; sound, movement and words, that

transmit my thoughts to the audience. Adelaide

As I do not regard myself a performer it is hard for me to answer this question. But I think I would describe myself as the intention to fuse those three elements. Paul

An abstract performer. Bella O.

As invincible because through my body and my movements I can show other people my spirit. Angelina An ensemble. Benso

Playing an instrument, I forget about time, place and other measurable conditions. I, as an ‚artist’, am just the ‚body’ of a power which uses my body to play and keep the pulse. Syavash

An instrument that conveys messages to the audience. Elsie 12

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THE LABDC ROLLER COASTER RIDE In preparing students for the tour with the production of »snakes and/ or ladders« Petra Kron asked them to be aware of the different spaces they are likely to perform in. She noted how spaces and weather conditions would differ and how these could affect their performance.

This proved to be prophetic as the four different shows on the road were in very different spaces and weather conditions. There was rain in Kumasi, heat and dryness in Tamale and Bolgatanga and a sandstorm in Ouagadougou. From what the students reported of the performance in Ouagadougou, that was the most challenging, and yet most exhilarating.

This experience was priceless and could never have happened but for this special Lab DC project. Life is like that isn’t it? We take a risk and plunge into something unknown with the hope that it will turn out alright. Sometimes it does, other times it does not. This is one case in which the results leave us with no regrets whatsoever. Even if it had turned out to be ordinary, the experience alone would have been worth it. For me this is a challenge to venture out a lot more out of our normal comfort zones, the ways we always do things, to find new ways of doing things; find new stories, new voices, new audiences and new venues.

I believe in so doing we renew ourselves and ward off mediocrity and boredom.

The Lab dc project has been a challenging roller coaster ride in many respects, but I have no regrets. I am hopeful we can find a way to keep this,… somehow maintain an open door for new possibilities for ourselves and our students. Congratulations to all the students and instructors who survived the ride!

Dr Awo Mana Asiedu

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ENCOUNTER AND LEARN THE NUMBER ONE IMPORTANT LESSON: COLLABORATION The inter-cultural/national experience of the performing arts gives hope for the future through the processes the partakers engage with.

My experience with Lab dc/Framewalk tour to Ouagadougou reiterates the afore mentioned point. My role on the tour as an artist/ instructor introduced very delicate personal and collective stories, journeys and experiences.

This tour created the exact platform for professional artists and students to congregate and share experiences that will pave the way for a better understanding of a delicate life, individual and groups of people.

The journey itself was equally important as the performance we were traveling with thus; Snakes and/or Ladders. This journey accorded us the opportunity to encounter and learn the number one important lesson in the performing arts; collaboration.

As easy and simple as this might sound to us, it can either make or break a tour involving people from different cultures, traditions, nationalities, religions and all the other differences that define us. First and foremost, the process we embarked on in creating ÂťSnakes and/or LaddersÂŤ demanded every faculty to engage collaboratively since it involved a holistic approach of interweaving dance, drama and music in telling multiple stories with one voice. This involved a lot of internal and external processes and artistic challenges both to students and instructors alike.

The understanding of the self as an artist was evident in the quest to find solutions to 16

FRAMEWALK ON THE ROAD & LAB DC 2013

some of these challenges. On the structural level, with regards to the tour, the various performance spaces within the regions we performed gave rise for the need of a collaborative font.

This collaboration involved the performers, the technical team put together to run the show, the venue as well as the audience who came to witness the show. The different audiences we received in each region made the show what it was at the end of the presentations. The highlights of the tour through the various regions and finally in Ouagadougou were the adaptations that took place. The performers in the wake of getting across to the audience had to adopt some words of the performance to the local dialect of the regions. In the process of doing that, we managed to break certain barriers to make the message more accessible and appreciated. This in a way defused some of the fears we had on the performances in Ouagadougou whose inhabitants communicate mainly in French.

The importance to these kinds of tour is to create the platform for openness to a wider view of the world in the creative process as well as foster acceptability through diversity.

It is therefore important to engage with these collaborative exchanges to sow seeds for future continuity through hybridization since that is what is constructing the 21st Century performing artist.

Alfred Elikem Kunutsor ACCRA KUMASI TAMALE BOLGATANGA OUAGADOUGOU

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Water

Water is important, sometimes it is weak and unreliable like a dirty pool of water, in other times it is strong and powerful like the ocean, but it is always inevitable. Just like Framewalk. Comfort

Fire

Fire is beautiful to look at and this was reflected in the beauty of our interactions and the performances.

Yet the not so pleasant and even uncomfortable situations we faced as part of life ‚on the road‘, captured how fire, though beautiful, refines and purifies through a difficult yet edifying process. Adelaide Fire begins slowly, but gathers momentum along the way. It consumes without fear. Our performance kept improving. The firy desert wind in Burkina could not even stop the, our, energy. Benso Like bush caught by wild fire, we lit every stage up and kindled the burning desire for the performing arts, especially in the hearts of the young ones. Wisdom Fire sends ist own message across no matter what. This is how I could describe our tour. Our message was sent across. Emmanuel Fire ccooked all our food that we ate on the journey and it fefined our performances through the sunrays.

Jude

Water, because I need it for living.

The tour was very hot, so water was so very much needed. Eric P. We were like water, flowing through cities and countries, leaving a source of water behind, representing our play, nourishing like water. Angelina

Air

Air in its forceful whirl at Ouagadougou as it carried the sound around, showed me the beauty of focus and oneness. My magic moment. Abena

Water, because I experienced the importance of it with my body.

Sweating almost 24 hours a day, made me drink more than 3 litres.

Paul

The essence of air I recognised and acknowledged throughout the tour.

In our last performance, the wind, that worked against us, brought out our best and created a wonderful magical moment. Bella N.

Water was the most important element we needed (48 degrees in Burkina!) and I felt how much my body needed it and how useful water can be. David

Air created my magic moment in Ouagadougou, first fresh air and later the same air carried a lot of sand. The air gave us energy to perform better and I really felt, that our performance brought down the rain at the end. Kathlyn Air, as in wind, is like our group’s athmosphere, never boring, never the same, sometimes very quiet, most of the times loud and wild, sometimes soft like a sweet dash of wind at sunset. Tyshea

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Picture your tour experience in reference to earth, wind, water and fire.

Choose one of the elements and explain why.

Earth

Earth carried us from Accra to Ouagadougou and through out all our performances, it was there to support us from falling. Jude Earth determines the structures on stage, positions of actors, musicians and audience. Abigail We are one like the earth, even though it is spread out all over the world, it is one. We are not divided, this is why we are a wonderful group. The earth is diverse, so are we, full of variety. Elijah Whatever happened, we had to stay on the ground and let our feet grow roots in this wonderful land.

Sometimes the earth was shaking, sometimes it was silent. But always solid, allowing us to move and stand on it safely. Syavash After this tour I feel a very strong bonding between the group and myself. I feel supported and self – confident with this rooted earth – group behind me. Marie-Lena

We all live on earth, so during the tour within Ghana and crossing the border to Burkina, we never left the earth. Eric A.

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Air made our performances quite challenging, the strong wind in Ouaga was quite scary in the beginning, but at the end of the show, it made it spezial. Frank Air caused a form of awakening in all of us on stage during our last performance in Ouagadougou, in a very positive way. Elsie Air moves from one place to the other and its presence is felt everywhere it goes. Like we did on our tour. And finally the wind at the Gambidi performance made us strong as a group, gave us this energy to give out more than our best. Angelica

Water kept us hydrated, which was very necessary considering the increasingly harsh weather. The rain made for good cool weather, in Kumasi as well as in Burkina Faso. The showers! The highlight of everyone’s day, they rejuvenated us. Bella O Water kept us alive and sometimes gave us showers of blessings from heaven before, during or after our performances. Jude Water, representing our production, a Master of transformation, Queen of adapting. Water a wounded womb of invisible scars, wearing the colours of any form and the silences the secrets of the sounds.

Water fills the space, any given space and makes it home. Water hugs the sun. If water is Layla, the moon will be Majnon. If water will be Juliette, the moon will be Romeo.

Morad

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SWING AND SWUNG, UP ABOVE THE GROUND, THE WIND PLAYED PIE. Strange encounters with keys and notes but the essence is embodied in time and space.

The door of the Lab opened, the experimentation began, the result became a mixture of presence and absence, of ups and downs framed in perception and identity.

Within time and space a creative fusion of dance, drama, body percussion, music and spoken word poetry, what is now known as ÂťLab dc & framewalk on the road // snakes and/or laddersÂŤ. Choreographically performed with such endurance, sacrifice and guided vision, matched to the road of uncertain certainties into the realm of realities.

This is how, where and when wind, water, earth and fire phenomenally addressed and redressed us with their true nature in manifestation to what was and what is. These fundamental elements of nature gracefully showed up more times, without fear or favour, demonstrating what can only be described as Beautiful, Magical, Powerful and Reverence. In rain fall, desert storm, red soil and the hot, scorching sun, through it all we were more than conquerors.

Swing and swung, up above the ground, the wind played pie; the dust speed wide, sight almost went blind but all at last the stage was cleared.

Body to body embrace of water in the rain, refreshed the brain to cool down the day in a feminine delight.

Soul to soul encounter with mother Earth, the red soil without oil covered and coloured our skin so we all look more like her.

Fire the father or better still father the fire, always looking on us from above shining and scorching bringing heat and thirst.

What more shall we say when it is all said and done, we have experienced wind, water, earth and fire. Beauty, Magic, Power and complete Reverence.

At the end life can only be understood when memories are evoked but it must be lived looking forward.

In honour to the four elements wind, water, earth and fire.

His royal blackness, Sir Black

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She rushes home as if I called She dances with me like we had rehearsed I feel her embrace Bringing sounds of a deep breath I see her moving through my pulse But she blindfolds my sight Pfrrrr! the sandy taste of the desert Reminding me that I am clay The sweat on her body Smells sweet to me Then she says Bonsoir. Jude Kurankye

Cultural Centre Kumasi performance at 4 pm — in the rainless 90 min. of the day. heterogeneous mature audience.

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No condidtion is permanent

Change na de only constant i o Rise today ay ay ay, fall tomorrow o o Twist and turns only lost for a season After a storm comes a calm No light without darkness Morning comes after dawn No conditon na permant so As you see am so o o Ino be so igo be gbenze gbenze Make them no tell u, say u be yeye Life fit face u with a whack Make u stand strong make u no cry yeye Run gidigidi, no gyigigyigi Before you crack.

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Tamale, Jubilee Park performance at 12 pm — at noon and scorching heat. audience: 800 students.

The desert starts talking Her beauty skin was walking I saw her beautiness taking my balance My heart started drumming a sentence The play still playing The clouds still clapping I took a breath thru my nose Smelling a rose I touched the soul of the snake While trying to fix the shaking ladder.

Pujan Sadri

The performance at Ouagadougou: A magical moment.

The desert started conversing with us, sharing her message with every soul at Gambidi theatre that night, the audience and the performers alike. Her letters, syllables and words sailing with her storm‘s sand into our eyes, ears and mouths. Lifting with her holy spirit the performance to a another level. It was holy theatre.

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Getting numb from the wind Blind from the dust Dry taste of sand Black. – Now we need to trust our connection Light. Darkness again.

Colours!

We don’t stop. No, we grow!

The annoying strange becomes our friend.

I can smell mother earth and we all become one One with each other And one with nature.

Tyshea Suggs ACCRA KUMASI TAMALE BOLGATANGA OUAGADOUGOU

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My eyes were whipped with wind My mouth was dipped in dust My ears were slapped with sound My skin was pattered with particles My nose was surrounded with sand Yet my inside smiled Gaining strength from The life on the stage The life in the wind On the stage In me In them My smile from the life in the Wind.

Adelaide Asiedu

Change challenges I feel estranged I see that space deforms Wind proves his power Fear turns into suspense Focus I taste freedom The smell of dust Childhood memories Change is constant I see But in the end We challenged change.

Paloma Nana

Poems written after Ouaga Performance

Tamale, Jubilee Park

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Framewalk is a creative beast. A wild, wild family. Paz Magen I’ve learned to be more patient (for example in the bus). No matter how difficult some situations/conditions were, you should always keep focused on what you are doing. I’ve learned to grow in and with the group. David Mendez I learned to take my chance in a situation, which is not comfortable or in a difficult form. Instead of waiting, I have to take care of myself and change the situation for the better. Marie-Lena Kaiser I learned to be patient, it overwhelmed me how kind, lovely and warm the people of Ghana and Burkina are. It took me back to my roots, as an Iranian, I learned to understand the meaning of really depending on and relating to each other. Syavash Rastani I do not feel tolerated by a group of people, but I am part of a strong group and I play an important and vital role in this team. I am celebrated and therefore I am encouraged to give all I have. Also, the group got better with respect to bonding and performance. Wisdom Abutiate I learned a lot about kindness and heartiness that people can give to each other. People in Ghana are open, that is the difference between Germans and Ghanaians. You feel more comfortable. Puyan Sadri The journey has made a great impact on me as a person.The first is that it has made me aware of my body in relation to different climate changes. It also helped me to be aware of other people around me, their feeling, their strength and weakness and how we can support each other to grow. It has helped me to develop ways to break language barriers. Jude Kurankye I learned that I am or human beings are adaptable to everything, if they are open for it and accept situations that are different to those they are used to. I really felt somehow like home in a place which I found horrible one day before. Just don’t be narrow-minded. Tyshea Suggs

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What did the Framewalk/Lab dc on the road tour do to you?

I became more aware of my surroundings and the best I can deliver.

I got to know the things I have to do as a performer so that I can improve. I have to be always ready to perform in rain, sunshine or fire like in any situation, because that’s what I am training myself for as a performer. Angelica Kankam To adapt to situations in terms of weather, hygiene, space and food and I saw the difference between the German and Ghanaian culture.

Eric Pankow In Kumasi when the rain started and we thought we were not going to have any audience because it did not want to stop, then suddenly the rain stopped when the show started and it never rained again till the show was over. Another change was in Bolgatanga when we had a change of the venue of the performance. I thought the tour was going to be very stressful but it all changed to fun, adventure and improvement. Kathlyn Addo I’ve learned to be very open on this roadtrip, because every country was different and brought different challenges within. Angelina Anthony To deal with different conditions (weather,hygiene) on stage and outside. I was able to learn more about the Ghanaian culture and I saw the differences between life in the cities and the countryside as well as the differences between South and North. And I got to know a new inspiring country: Burkina Faso. Paloma Nana Singing Bob Marley songs until I couldn’t stand them anymore, to try every food you can, to multiply with 2.5/250, what it feels like to be stared at because of your skin colour, the joy of eating with your hands and again to appreciate what I have in Germany. Paul Naudascher My expectation before the tour was to be able to perform in a particular way so that I keep the show up. But my presentation on the deadly theatre by Peter Brook taught me otherwise. I changed my perception and it worked well for me and us as a group. Elsie Atiase

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My personal relationship with other people changed.My understanding of performance changed, because I got to understand that no matter the situation, the show must go on. I also got to appreciate that as a performer I must change my approach to my performance,t aking into consideration the audience and environment. Frank Baala The ability to rebuild my character during the tour. We had different audiences with different age groups. I learned how to create my character to suit their level of understanding. Solomon Nii Amu I have grown better in my confidence on stage. No emotional distortion must stop me from doing what I love doing most. In my perception: every space can be a stage. Eric Awere The tour was definitely a positive changing force where my professionalism is concerned. It redefined ‚the show must go on’. The tour has made me a more patient person. My adaptability has improved. Bella Obiago To adapt to the ups & downs of life and make the best out of it. The need to break language and cultural barriers to freely bond. To be tolerable and open. To adapt and use to my best every stage’s individualdynamics. The need for critique to grow to be a better actress.

Abena Danso Dansoa This trip was like a dream come true form me , because I had the opportunity to communicate to people outside my domain and had to get them to understand the concept we carried across. More so was the priviledge of meeting the Germans, because some are my age group and it was fun discussing heart to heart matters with people of different cultural backgrounds. And I have come to appreciate the cultures of others more. Chana Comfort My view of stage performance changed. I open ed up to singing with my soul and tried to push myself to perform, not just to sing.

I appreciated myself and the group more. Isabella Narh An opportunity for GROWTH; mentally, artistically, intellectually.. simply put, in every aspect of my life. Adelaide Asiedu Trust is like the egg – once broken it cannot be mended. So I have to be careful not be mistrusted. A lesson I learnt. Nii Quaye Aryee

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Let go No sand No taste No smell No feeling Blind.

Never try to control In the end Nature decides.

Marie-Lena Kaiser Poems written after Ouaga Performance

Movement to my eyes Music to my ears Taste of energy on my tongue Warm air on my skin Surrounding me Smell of sweat in my nose Swooosh Greetings from Sahel Everywhere.

Paul Naudascher

Bolgatanga Girls Secondary School performance at 5pm audience: 600 students

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As the storm began My eyes were closed Couldn’t see a thing My mouth was full of dust But I hear them sing A sting of dust on my skin The breeze of cold sand Passing thru my nose A storm as big as a King…

Eric Pankow

Feeling good, feeling strange, feeling better Cool, dusty I am the weather But standing in the same Flying away Place It’s weird, it’s nice I am here, it’s ours Still feeling good, still feeling strange, still feeling better With all these grey colors.

David Mendez Poems written after Ouaga Performance

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Framewalk ON THE ROAD & LAB DC 2013

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ON FRAMEWALK

Since it’s kick off in 2009 Framewalk – the cross cultural workshop week has moved about a lot, seen and heard quite some and acted out in many different ways. We travelled far and not so far, as in Japan, Ghana, Turkey, Israel/Palestine, France and the Netherlands. Ghana and Germany established a regular Framwalk exchange partnership, upcoming Framewalk 6 in Germany this year.

And yet every Framewalk is still one of a kind and at the same time related to each.

It is still about the people. About their willingness to share and support each other in their personal and professional skills, their visions and their uncertainties.

Framewalk evolved into an ever flexible, porous, meandering but solid and trusted body. A scope, a zone, a familar space away from home, a safe haven and a freeport for the Framewalker whether inbound or outbound on their unique journey through an artists life.

This time Framewalk was a real rough trek, a physical as well as a spiritual journey, across borders and through climate zones. A magical voyage a true bon voyage!

In collaboration with: KABAWIL e.V. Düsseldorf, Germany and the University of Ghana, the School of Performing Arts, Legon, Accra, Ghana

Ouagadougou, Burkina Faso, Gambidi theatre performance at 6 pm In spite of a desert sand storm the whole audience stayed on mesmerized by magic.

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FRAMEWALK ON THE ROAD & LAB DC 2013

ACCRA KUMASI TAMALE BOLGATANGA OUAGADOUGOU

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Petra Kron works as cultural anthropologist and as performing artist for productions and projects. She does production management for various programs and plays in Germany and abroad, working majorly in crosscultural contexts. She developped a concept for relational cultural works.

She designs and instantiates art programs like Framewalk and Lab dc in collaboration with artists from varying countries, like Japan, Ghana, Burkina Faso, Nigeria, Turkey, Israel and Germany. She’s got a Ph.D. (ABD) in Cultural Anthropology of Mainz University and a state board examination in Fine Arts and English from Düsseldorf University. She teaches and researches her concept of relational cultural work at the School of Performing Arts, at the University of Ghana and other Institutions for the Performing Arts.

Abiodun Odukoya is a singer/songwriter and works as arranger and producer of music. He is a pioneer of the HipHop and afro/reggae/soul scene in Germany since the 90’s. In addition to his Solo career he promotes and produces young musical talents in Nigeria and Germany. He is a founding member of Brothers Keepers, with its persisting statements against racism. He collaborated with Maceo Parker, UB40, Gregory Isaacs and Xavier Naidoo. Abiodun is an experienced teacher for voice, singing, rap and spoken word.

Kojo Benedict Quaye aka Sir Black is an African living in Ghana. He is a performance artist, painter, sculptor and Ehalakasa (spoken word poetry) instructor. He is the founder of TalkFACT3, Ehalakasa Talkparty the only regular poetry event and the Annual Ehalakasa Festival. Sir Black is very much involved in organizing spoken word poetry events, workshops and projects in schools and communities in collaboration with local and international cultural institutions around the country. He is a threetime prize winner in spoken word poetry (Ehalakasa) including the ‚2006 Peace FM National Search Competition’.

ACCRA KUMASI TAMALE BOLGATANGA OUAGADOUGOU

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THE TEAM ON THE ROAD

Alfred Elikem Kunutsor is a tutor in performance studies in the Department of Theatre Arts at the University Of Ghana, Legon – Accra. He has an MA and BA in Dramatic Arts from the University of the Witwatersrand South Africa. Over his period of study and professional work till date has believed in collaborations between, forms and mediums, genre and people, artists and non artists alike. He has run performance/physical theatre workshops in Germany, South Africa and Mexico. He has lectured movement in the Wits school of the Arts and has performed in a wide range of works. He was the artistic director for the Sankofa Afro-Indigenous fusion band in South Africa.

Morad Hasan is an actor and an acting coach. He has studied Art History and Theatre Studies at the Hebrew University in Jerusalem and Acting at the University of Haifa, Israel. He has worked as stage director for Framewalk on Tour and as artist instructor and coach for Kabawil’s productions King Ed and food4brain18. He has taken part in different plays and movies in Israel and Palestine, as in ‚New World Order’ and ‚Harold Pinter’.

Paz Magen is an active composer, artist and performer. He specializes in diverse styles on the guitar and works with young musicians as ensemble instructor and producer. He has collaborated worldwide with professional dancers, actors and other musicians. He graduated BMP from a college of music and sound and continued his studies in theater and music at Haifa University.He is now busy writing a script to a play, due to premiere in the following month.

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FRAMEWALK ON THE ROAD & LAB DC 2013

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Lab dc is about:

Freedom // Don’t suffer, Enjoy // Honesty Mirror & allow to be mirrored // Focus // Bridges // Exposure Voice // Insight // Adventurous // Process // Giving & sharing Networking // Choice // Flexibility // Perception // Curiosity Acknoledgement // Living it // Awareness // Presence // Wake Up Make Mistakes // Cross cultural // Transgress // Critique Breaking the rule (know when and where) // Empower/ing Interaction // Experience // Challenge urself and the other Change Change Exchange // Support // Have an Impact Surprise // Reflect // Sensitize // Open & Close // Perform Quality // Clarity // Captivate // Confusion // Diversity Authenticity // Nuance // Polyglott // Spirit Accra 2013

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Framewalk ON THE ROAD & LAB DC 2013

Mr Black, Bernard Akoi-Jackson, Petra Kron

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STUDENTS

:

Wisdom Yayra Abutiate

Kathlyn

Angelina

Elsie Esinam

Eric

Frank

Comfort

Abena

David

Paloma

Addo Anthony Atiase Awere Baala ChanA Danso Dansoa Mendez Nana

Isabella Narh

Solomon Nii Amu

Emmanuel

Marie-Lena

Angelica

Nii Quaye Aryee Kaiser Kankam

Jude Arnold

Kurankye

Bella

Obiago

Emmanuel

Opoku Bediako

Eric Pankow

Syavash

Rastani

Puyan

Sadri

Tyshea

Suggs

Abigail

Teiko

Elijah

Twum

TEAM GHANA/BURKINA FASO

Petra Kron programm/production management Lab dc/Framewalk

Mr Black spoken word artist/instructor Alfred Elikem Kunutsor theatre artist/instructor

Morad Hasan theatre artist/instructor

Abiodun Odukoya music artist/instructor

ADAMA NDEMBELE

Stephan Fritsch film

MUSICIAN/COORDINATOR IN SITU

IUB assistant documentary

Paz Magen stage sound

Paul Naudascher

weblog Framewalk + Lab dc

Adelaide Asiedu

weblog Framewalk + Lab dc

Farouk Numo / Richard Anum bus driver TEAM DÜSSELDORF

KATJA STUKE

DEsIGN, PHoto EDITInG

Supported by:

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Snakes and Ladders is the name of the game Walking and meandering your way to the top Something happens and a venom bites Boom, down to the ground Choices, choices life’s about choices Voices, voices what are they saying Turn right, turn left I’m so confused I’m now at the mesh don’t wanna be a mess.

c