Accessibility
GenerAL information
Dear visitors of tanzpol Festival 2024.
In order to make the process of designing low-barrier and barrier-free access to our program transparent, here are a few general words about it. This is the second festival edition that we have planned and curated and the first in which we have given extensive thought to the topic of accessibility. A topic that should not really be worth mentioning and should naturally be included in the planning of all kinds of festivals. Nevertheless, we are only learning step by step what accessibility means and which levels it includes. In the course of an initial consultation with Diversity Arts Culture and in view of our financial resources, we focused on the format of Relaxed Performance and on a detailed description of barrier-free access and possible barriers on our website.
We are aware that the range of services on offer is far from meeting all needs. This is the beginning of a long process that we want to drive forward together with experts and through feedback from our audience. For local needs, suggestions and feedback, questions about sensory triggers and content notes that go beyond the information below, as well as information about barriers, please get in touch:
Contact: Johanna Kasperowitsch
E-Mail:
General information on terms such as ableism, audism, etc. and on accessibility at: https://diversity-arts-culture.berlin
Relaxed Performances
A Relaxed Performance is aimed at an audience that benefits from a more relaxed event atmosphere. It aims to welcome audience members who are often excluded from performance spaces. These include, for example, autistic people, people with Tourette’s, learning difficulties or chronic pain. Sounds and movements from the audience are expressly welcome in Relaxed Performances. The audience is allowed to leave and return at any time. In addition, the auditorium doors may remain open during some performances. A separate place of retreat will be set up during the event. People can stay there before, during or after the performance. A contact person on site will be available at all times to answer questions and provide spontaneous support.
The following events are offered as Relaxed Performances:
Bouncing Narratives by Roza Moshtaghi
28.05.2024 | 17:00 and 18:30 | Artist-Talk at 19:00 | Uferstudios, Yard.
Double Skin by Mostafa Shabkhan
29.05.2024 | 19:00 | Artist-Talk at 20:00 | Uferstudios, Studio 1
Trans(in) moan(in) by Raoni Muzho Saleh
01.06.2024 | 18:00 | Artist-Talk at19:00 | Uferstudios, Studio 14
Braver spaces – Realities, Barriers and Scopes of Exile in the European Artistic Field
tanzpol Panel-Discussions
02.06.2024 | 13:00 until 14:30 and 15:30 – 17:00 | Uferstudios, Studio 1
Sensory triggers
My friends call me Daniel
In this performance, music is played live and slightly electronically amplified. The performer speaks and sings into a microphone. The overall volume of the sound is moderate. In the middle of the piece, a strobe light with bright, glowing colours is used in a short sequence. Spoken language in Dari and French is an important element of the piece. The texts are translated into English as surtitles for reading along.
Man anam ke rostam bovad pahlavan
The play can be experienced by seeing and hearing. There is no spoken language. The rhythm of the performance is fluid and continuous, there are no abrupt changes in light, sound or atmosphere. Overall, however, the brightness of the light varies greatly throughout the piece. The sound is very loud at times and always comes from the same source.
From the lips to the moon
One focus of the performance is on the music. It is created through a mix of acoustic and electronic sounds, some of which can be loud and contain strong bass. There is a lot of colored light and moving images (abstract shapes, representations) that are projected onto a screen. The use of punctual flashes of light is planned. Songs and poems in English spoken language and Farsi are part of the performance. The performance is approximately three hours long.
Keeping up with the iranians
The performance includes loud music in places. Singing and speaking are slightly amplified by microphones. During the performance, the performers and the audience usually move freely around the room, dancing, laughing, clapping and singing. The audience is addressed and spoken to directly at certain points. At the end, cake is distributed to the audience. The performance is about three hours long.
Bouncing narratives
For this performance, visitors enter a container that is open at the top and on two sides. The performance by two dancers takes place on a trampoline above the audience. They follow the performance from below and, if necessary, lying down. Due to the limited space inside the container, the number of spectators is limited accordingly.
Trans(in) moan(in)
The theater space is largely dark. Overall, the lighting mood of the performance is rather gloomy. The electrically amplified sound and the vocals of the performer into a microphone are sometimes loud. There are no flashes of light or abrupt changes of light.
Mourning sociality
As the participants sing together, sounds and voices may come from different directions and at different heights and depths. Physical proximity to other people cannot be ruled out due to the open seating arrangement. There is movement in the room through the change of seating positions. The atmosphere is kept intimate and the lighting is subdued. A maximum of 30 people can take part. At the end there will be a snack and tea. The performance is approximately 3 hours long.
Double skin
There are no abrupt light changes. The volume of the music is moderate.
Erotic clown cakesitting
The event will take place outside in the Uferstudios courtyard. There will be no artificial light.
noufān نوفان
This event is a concert with live instruments (trumpet, tombac) and electronically amplified sound. The volume is usually high. The music is bass-heavy. The subsequent Djing is accompanied by video projections and various lighting effects. The audience moves freely around the room and is invited to dance. If necessary, the space will be tight. Alcoholic and non-alcoholic drinks will be available.
CONTENT NOTES
MY FRIENDS CALL ME DANIEL
The performer talks about his life in exile in France, the difficulties involved and his childhood memories from Afghanistan. Talking about Afghan culture is an important part of the performance. The overall tone of the stories is humorous, light and gentle.
MAN ANAM KE ROSTAM BOVAD PAHLAVAN
The performance includes the use of raw meat.
FROM THE LIPS TO THE MOON
Topics such as war, displacement or experiences of violence are most likely addressed in the poems and songs that are recited. This is done purely through spoken language, not through visualizations on the screen or through body language.
KEEPING UP WITH THE IRANIANS
None.
BOUNCING NARRATIVES
Topics such as physical and psychological trauma are negotiated on an abstract level and via body language.
TRANS(IN) MOAN(IN)
None.
MOURNING SOCIALITY
This participatory format focuses on grief processes and the physical and emotional access to one’s own grief and personal (grief) stories. Personal memories or the experience of other people’s expressions of grief and mourning can evoke strong emotions and feelings.
DOUBLE SKIN
The performance includes the use of cupping glasses, which are applied to the performer’s skin. It is possible that the glasses may break during the performance.
EROTIC CLOWN CAKESITTING
The performance involves eating, smearing and destroying a real, large cake through the body of the performer.
noufān نوفان
None.
ACCESSIBILITY WORKSHOPS
THE EROTIC CLOWN with Sepideh Khodarahmi
All performance tasks and movement elements of the workshop are open and allow for translation according to individual needs and possibilities. People with physical limitations are welcome. Previous knowledge of once own artistic-performing or physical practice is an advantage. Previous dance experience is not essential. There will be a 30-minute lunch break at 2 pm. A maximum of 15 people will participate.
ADAMAK-TION with Elnaz Sheshglani
No previous dance or performance experience is necessary for this workshop. The gestural movement material can easily be adapted to different physical needs. People with physical limitations are welcome. The storytelling elements can be learned non-verbally and purely through gestures, so the use of spoken language is not absolutely necessary. There will be a lunch break between 12:30 and 13:30 on each day. On the last day there will be a 30-minutes presentation of the material learned in the yard of Uferstudios. Participation is voluntary. A maximum of 30 people can take part in the workshop.
TARAB-WORKSHOP with Ulduz Ahmadzadeh
This workshop is aimed at dancers with previous professional experience and is not expressly suitable for people with physical disabilities. There will be a lunch break between 12:30 and 13:30 on all days. Up to 25 people can participate.
CHILDCARE
We offer childcare for some of the performances and for all panels. In Studio 6 of Uferstudios and in Studio 2 of ITI-Germany, children can play, paint and run around under supervision during the events. Picture books, painting utensils and various toys will be provided. If required, please send a short e-mail to stating the desired event and the number and age of children you are bringing with you.
Childcare is offered for the following events:
BOUNCING NARRATIVES, 27-.28.05.2024 | 17:00 – 18:30 | Uferstudios, Hof
DOUBLE SKIN, 29.05.2024 | 19:00 | Uferstudios, Studio 1
MY FRIENDS CALL ME DANIEL, 30.05.2024 | 19:00 | Uferstudios, Studio 14
TRANS(IN) MOAN(IN), 01.06.2024 | 18:00 | Uferstudios, Studio 14
MOURNING SOCIALITY, 02.06.2024 | 18:00 – 21:00 | Uferstudios, Studio 14
Panel Discussion
Timesless, Placeless: Iranian Dance Archive in Exile 26.05.2024 | 13:00 | ITI-Germany, Media Library for Dance and Theater
Braver spaces – Realities, Barriers and Scopes of Exile in the European Artistic Field
02.06.2024 | 13:00 – 14:30 + 15:30 – 17:00 | Studio 1, Uferstudios
PHONETIC TRANSLATIONS
The panel discussions Braver Spaces – Realities, Barriers and Scopes of Exile in the European Artistic Field on 02.06.2024 will be held in English. A spoken-language translation of the content is not guaranteed throughout.
The panel Timeless, Placeless: Iranian Dance Archive in Exile on 26.05.2024 will also be held in English. A spoken translation into other languages will not be provided throughout.
All artist talks will also be held in English. A translation into German will be provided via a translation system with headphones. The artist talk with Mostafa Shabkhan on 29.05.2024 will be held in Farsi. A translation into German and English will be provided via a translation system with headphones.
The spoken text in the performance My Friends Call Me Daniel is translated from French into English via surtitles for reading along.
Spoken texts and songs in the performances From The Lips to The Moon and Keeping Up With The Iranians will be in English and Farsi and will not be translated.
ALTERNATIVE SEATING OPTIONS
At all events, there are alternative seating options for people with chronic pain, for example. A Relaxed Area with beanbags is set up in the front row for this purpose. We also try to offer wheelchair spaces in the front rows of seats. In Studio 1 of the Uferstudios, these are located in the last row due to the structural conditions, with a clear view of the slightly lower stage.
At Sophiensaele, alternative seating can be booked regularly via the ticket system. At Uferstudios, wheelchair spaces can also be booked regularly. If you require additional alternative seating at Uferstudios, please send a short email to or .
VENUES
The venues Uferstudios, Sophiensaele and ITI-Germany each offer different structural conditions, access and parking options and ticket booking options.
Information about the Sophiensaele can be found here:
https://sophiensaele.com/de/seite/barrierefreiheit#barrierefreiheit_informationen_zur_barrierefreiheit
Information on the Uferstudios can be found here:
https://www.uferstudios.com/de/barrierefreiheit/
Information about the ITI-Germany can be found here (please note that the ITI-Germany is only accessible to a limited extent):
Studio 2: https://studio2.iti-germany.de/de/accessibility
Media library for dance and theater:
The Media Library is accessible at ground level and barrier-free. It is possible to drive to Kunstquartier Bethanien by car. There is a fire department access road in front of Kunstquartier Bethanien that can be used for access. Parking in front of the building is permitted for people with restricted mobility.
Addresses:
Uferstudios
Badstr. 41a
13357 Berlin
Uferstr. 23
13357 Berlin
Arriving by ÖPNV: U8 Pankstraße, U9 Osloer Strasse, U9 Nauener Platz, S-Bahnhof Gesundbrunnen
https://www.uferstudios.com/de/meta/kontakt
Sophiensäle
Sophienstraße 18
10178 Berlin-Mitte
Arriving by ÖPNV: U8 Weinmeisterstraße, S-Bahnhof Hackescher Markt, S-Bahnhof Oranienburger Straße
https://sophiensaele.com/de/seite/kontakt
ITI-Germany
Kunstquartier Bethanien
Mariannenplatz 2
10997 Berlin
Arriving by ÖPNV: Bus 140 Mariannenplatz, Bus 147 Adalbert Str., U1 / U3 Görlitzer Bahnhof, U8 Kottbusser Tor
https://www.iti-germany.de/kontakt
EARLY BOARDING
Early boarding is an offer for visitors with visible or sensory or mental impairments. It means that it is possible to enter the respective event room earlier in order to find a specific seat in peace and quiet and to get used to the room and lighting situation in a relaxed manner. If you would like to take advantage of this offer, simply come to the box office 30 minutes before the start of the event and speak to our colleagues from the evening service there. For all panel discussions, the rooms are freely accessible from 60 minutes before the start.