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Workshop series: Harness in motion

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The series ‚Harness in Motion‘ consists of three workshops this summer:

1. class: Navigating weight lightly – 27.6.25
2. class: Skin, ropes and trust – 22.7.25
3. class: Adrenalin / Shibari fight club – 23.9.25

The workshop focuses on dynamic system of movements and rope restriction. Dasniya will open her vast dancers tool box to creatively expand the traditional shibari vocabulary. Rope harnesses will serve as anchor points and transform the classical top-bottom dynamic into playfully and intimately moving with your partner through space.
Note: This class is the second of a series of three classes that will explore this topic in depth. The classes build on each other but it is not obligatory to take all three of them.

For more information please contact: workshops(at)dasniyasommer.de
or register via: Karada House.

Dasniya Sommer is a Berlin-based choreographer and teacher who works in the range from performance to photography and video art, from Japanese Shibari to classical ballet. She examines movement and image from the perspective of the dancer. For 20 years Dasniya has practiced Japanese Shibari/Bondage stretching performative aesthetic categories, making shibari accessible to a wider and intersectional community.
 She tries to combine pure Japanese techniques (currently Akira Naka inspired) with an unconventional anarchic approach, often integrating objects or organic material into the process. 
Dasniya’s teaching is informed by her experience as a rigger and shibari model. Melting schools and philosophies from a great number of teachers such as Chanta Rose, Kamijoo Saki, Kasumi Hourai, Arisue Go, Akira Naka, Tamandua, Gestalta, and Norio Sugiura. She regularly teaches at ‘Haus Sommer’ her studio in Uferhallen Kulturwerkstatt, and a.o. at ImPulsTanz Vienna, Lismore’s Queer-Community/Australia, and Braunschweig University of Art. ‘Sculpting or moving with ropes I deeply enjoy the handcrafting moment combined with sensual attention towards my partner or the bondage material.‘

Photo by Pippa Samaya.

 

Tanzpraxis Research: Para Ju Jitsu WM in Crete

 

Heraklion

An inspiration journey with Fungi Fung. A while ago Fungi said she is eligible for the BJJ (Brasilien Ju Jitsu) Para World Championship in Crete this year. Do it! I said, but the registration turned out too pricey. Take these dollars from the Tanzpraxis scholarship, we continue our choreographic research SPK (der Sommer-Phuong-Komplex, see below), and you bring gold home! ^^
Happy experiencing a new world of performing sports! An extremely beautiful competition hall with more than fifty nations competing. There were six fighting areas, many female referees and most interesting set up that during fights, coaches are allowed to sit behind a counter feedbacking and screaming advices, as from the outside they often have a better view on how to undo the complex Ju Jitsu drills. If you want, these locks look like a forceful killing embracement.
All para fights took place on the last day. Fungis opponent was a male fighter on the autism spectrum. It was important to know, as the para categories are put together by the official board and coaches, so that restrictions are relatively equal, and both fighters have a realistic chance to win. There was valuable briefing from Yakup Mutlu, a fighter himself, and Fungis dear friend and adviser to prepare her strategy. She hardly warmed up I wondered. It was all about mind setting, and became a beautiful fight. Two rounds. They both were so utterly present, like big cats spiraling. At the start one of the Brasi fans loudly macho laughed, seemingly shouting ‘you get her down in a second’, but Fungi submitted his companion in two rounds of three. The whole Brasilian team, and biggest BJJ para-organizer worldwide, were deeply fascinated by her dance-like style. Later in the day I documented the award ceremony, a.o. the Brasilien First Lady handing over gold medals, and one for Fungi! ^^
All in all I took more than 2000 photos, some videos and soul supported when possible. It definitely was a sweat producing challange, in such a testo-loaded sport event. We both admired the Mongolian and Kasachstan athletes like teenies.
The more I enjoyed running around as accredited  photographer, being allowed to the edge of the tatamis, and highly aware of fighters crossing the outlines to quickly jump away.
The camera was my magnifying glas. Observing the rough take downs closely, feeling into, anticipating attacks and dramatic facial expressions after submission. Especially I liked the protocol before and after the fight. Bowing and respectfully shaking hands, that’s what I learned to little in ballet training – the sporty team spirit!  One of the club board leaders told me, to shoot the as much as possible emotional snap shots for the German team, they appreciate it a lot.
For the choreographic research I am still pondering how to structurally access this form further. There is a lot of floor work, and so called ‚Duo’s’. Set sequences judged by realistic self-defense elements. One scenario for example was a person in a wheel chair taking down someone standing.
Anyway I am looking forward to take a few classes, and wonder if there is a queer, BiPoc fightclub in Berlin, to hopefully duet further with what Fungi and I started at Ada-Studio this year.

With many thanks to Senatskanzlei für Kultur und Medien Berlin / Tanzpraxis for the support of my choreographing research, and to the DJJB (Deutscher Ji Jutsu Bund).

ADA Research: SPK – der Sommer Phuong Komplex

Reasearching four weeks with Fungi Fung at Ada-Studio . Many thanks to:
Gabi Beier, Maria Ladopoulos and Liisi Hint!
And to our team:
‘Leichte Sprache’ translation and dramaturgical support: Manuel Gerst.
Outside eye: Clara Eckhardt and Akiles.
Critical companion: Melmun Bajarchuu.
There is an online stream of the performance on the Ada-site until Thursday March 21st.
And a text written by studio writer Maia Joseph.

Fleetstreet Residenz

Very lucky to start working with Michael Schumacher/Meine Damen und Herren Ensemble on Glutamat 2.
It has been a long way to make this collaboration happen. Our research is based on combining Michaels text performance and his auratic presence when he speaks with different movement approaches. We developed a way to dance and rope-tie together, and some dramatic scenes with somewhat absurd poetry. There have been scenic ideas for a Care-Pas de Deux, plenty of sculpturous moments, and a wellness noodle bath.
We continue working on the material all through the year for a show in 2023.

Many thanks to Meine Damen und Herren, especially to Christoph Grothaus and Simone Burkhardt. And to Mark and Sina Schröppel.

Supported by Fleetstreet Theatre Hamburg, the Hamburgische Kulturstiftung, Kulturbehörde Hamburg and the Rudolf Augstein Stiftung .

Intuitive Session July

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Stills aus der Bewegungsrecherche im Rahmen des Dis-Tanzen-Solo Programms. Herzlichen Dank an den Dachverband Tanz Deutschland e.V. für den Support meiner choreografischen Recherche.

Im Juli mit Gestalta-Hannah Judd, Seilen, Steinen und Semi-suspension.
Live podcast: Mittwoch 7. 7. 2021, 16 Uhr, IG: @Dasniya_Sommer

„Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, [Hilfsprogramm DIS-TANZEN/ tanz:digital/ DIS-TANZ-START] des Dachverband Tanz Deutschland.“

Intuitive Session May

Movement research for Dis-Tanzen-Solo,. With Tara Samaya and Yui Kawaguchi at my Uferhallen atelier in May.

„Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, [Hilfsprogramm DIS-TANZEN/ tanz:digital/ DIS-TANZ-START] des Dachverband Tanz Deutschland.“

Research Routines – Talking Toes

Movement exploration for my instagram podcast as part of the program Dis-Tanzen-Solo. Many thanks to Dachverband Tanz Deutschland e.V. for the support.

Live session: Monday April, 26 at 4pm
www.instagram.com/dasniya_sommer/ 

Talking Toes‘ adds hip action to the previous shoulder exploration ⬇️ because foot habits usually start at the architecture of the pelvis and from there root downward. Activating individual muscles groups in the pelvic region takes a moment since it seems like one massive bone structure, sheltering and protecting our guts from external impact.
Staying on the level of movement research, I am again using PNF -proprioceptive neuromuscular facilitation – a taktile sense ⬇️ to work out axes and patterns of the pelvic joint, and how it’s micro movement travel up the spine if wanted.
At first its not about moving the leg but finding the individual impulse of the right and left pelvic half. Later these impulses are extended into the periphery and shaped to classical forms but originating at the very core.

I am reading into stereometry in dance, or dynamic spatial geometry. Starting.
An arabesque cut in half brakes the idea of the infinite line, as well as the wrist rope. If there is the full circumference of movement, there also is the folded in or the restricted spacial imprint. With smaller reach, with the lower leg being visually deleted. But therefor more differentiation and attention towards surrounding and often neglected parts and their opportunities to move. Now, by immobilising the lower leg, this becomes obvious. The surrounding parts, like toe or sacrum articulation need to take over. Get creative. For a moment it’s a little brain fuck. Sensory unfamiliar. Staminawise harder, but I am after these alternative sources of movement. For now. Twitches in uncoordinated corners of the little toe, and some time later adding goofy fun stuff.
My (not so virgin) lower back also appreciates this routine. Intrinsic fibres between the vertebrae’s are waking up with deeper blood circulation, and if you do it for a while some blood will rush pleasantly across the pelvic floor.

„Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, [Hilfsprogramm DIS-TANZEN/ tanz:digital/ DIS-TANZ-START] des Dachverband Tanz Deutschland.“

GLUTAMAT research

Im Rahmen von GLUTAMAT research stellt die Berliner Choreographin und Tänzerin Dasniya Sommer die Normierung von Körperbildern, Exotismen und Fast Food Konsum in einen irritierenden Zusammenhang. Als Analysetools dienen ihr dabei ein dekonstruierndes Verständnis von klassischem Ballett, die japanische Bondage Variante Shibari und eine originäre Pop Art Adaption.

Konzept, Choreografie, Set design, Kostüme, Tanz: Dasniya Sommer
Tanz und Co-Choreografie: Tara Jade Samaya und Yui Kawaguchi
Critical companion: Ursina Tossi
Kamera und Schnitt: Pippa Samaya

1000 Dank an Tina Pfurr und Anne Brammen für die zweimonatige Residenz! Sie ist Teil des Take Care Residenzen Programms, gefördert vom Ballhaus Ost, Flausen Netzwerk und Fonds Darstellende Künste.