This summer of 2015 I was responsible for the organisation of the castle festival in Heidelberg.
Künstlerische Leitung Michael Uhl
Produktionsleitung Katharina Simmert
Assistenz der Produktionsleitung und der künstlerischen Leitung Sarah Thöle
Assistenz der Künstlerischen Leitung Deborah Raulin
Gestaltung Gelände Anna Wunderskirchner
Gestaltung Gelände Rosanne van Spaendonck
Presse Sonja Zirkler
Marketing Caroline Thiemann
Technischer Direktor Peer Rudolph
Technischer Produktionsleiter Jens Weise
Last year (2013) the American Miltary left Heidelberg with all its belongings. They left behind strange empty spaces where the gras grows and nobody comes to cut it - but also they left behind an empty space in the society of Heidelberg. The citizens of Heidelberg lost their friends, neighbors, colleagues and costumers. "The big brother" left after 68 years its home. What did he left behind? Whats left of the american lifestyle in Heidelberg?
The Theater und Orchester Heidelberg invites the public to visit the former Miltary Hospital area where everyone can search for their own answer to the questions about the american-german relations.
From the 3.10.2014-5.10.2014 the Theatre Heidelberg hosts a 7 hour long theatre spectacle about all kinds of aspects of american influences on Heidelberg.
When street-dance and breakdance became famous in the 1980s, the dances were related automatically to hip-hop. Up to now today not many people know that there is a specific subculture of dances – the Funk-style-dances.
Funk-style is the main description for various styles, which originated during the funk ära in the late 1960s at the American West-Coast.
It is assumed that the origin of the word funk is a combination of the Congolese word lufuki and the English words stank and stinky. The true origin and with it the exact meaning of the word can't be scientifically proved but it's use as an exclamation of appreciation or challenge in musical circumstances can be observed – in this cases the word always will have a dirty, sexual and insinuating flavor.
We are located in the year 1969, the time of the black power movement in the US.
The stage is so overcrowded by numerous, colorful and crazy-dressed, dancing people that it is impossible to determine their exact quantity.
A Hammond organ, a piano, two guitars, a base, a drum-set, various blowers such as a saxophone, a trumpet and a clarinet can be recognized on stage.
In front of the stage are the background-singers in marvelous glitter-dresses and of course the bandleader and mainsinger.
Each musician seems to play independenty but, nevertheless that chaos creates a distinct harmony. The omnipresent rhythm composes a platform of understanding.
With his rough, rhythmic and earthy vocals the singer engages the audience: “Get up, Get into it, Get involved!“
The audience answers with joyful excitement- nobody stands still.
All is mixed together creating a colorful vibrating whole. The moving people are reflecting the rhythm and the wildness of the music.
They let loose and dissolve completely – everybody is who he's supposed to be and all reunite on the One.
Musical features of ecstasy are:
simple rhythmic structures which repeat itself in minimal variations and deep pulsating textures completed by harsh and high-frequency modulations.
This acoustic stimuli causes a physical reaction, which consists of two different aspects: tension and tension release.
This separation is the basic technic of all funkstyledances. The body tenses to the rhythm of the music in order to create an accent, and when the body’s tension is released the accumulated energy will be dissolved into the lustful feeling of ecstasy.