Trance


Duration: 20-25 minutes 

Choreography: Akiles 

Music/Sound: Calvin Lanz

Performers: Akiles 

Production: Sirine Malas

 

Synopsis:  Voices that drift in waves, densify and interact together generating notions and movement. We do not only hear sound anymore, for sounds set a mood immediately as these voices start to grow into an image begotten from our perception. This is how the small atomic details form an image out of audible input directly forming visual output.

Description: Painting an image of a “what if” situation people’s actions succeeded using truevoices of real people from revolutions, demonstrations and protests from different parts of the world. Sounds continue to repeat and multiply while additional new ones never stop flowing in all intermingling to reach fulfilment then exhaustion, and then an out of control or out of awareness state. The wave rings expand further unlimitedly covering uncalculated space thus they spread all over in every direction, influencing our existence and becoming an integral part of our interaction with our surroundings, our thoughts, our opinions and our sentiments.Registered sounds are mixed up together in a track with a delay melody, where voices are particulars like atoms units which make out an item, regardless of whether that picture is a fantasy imagined or a true one that was seen before in real life; the sounds are the strongest element impacting the results, when they are true so is that picture. 

What if everything went into silence? Silence as an imaginary quality where all our memories are cut off as we are cut off all sound waves freezing into absolute quiet. Is that so , or is silence composed of another voice, that we still cannot hear.

 

This performance has a spiritual nature, where only one slot in time is represented as the dancer interacts with all happenings within this one slot in time. In this time, “what if?” becomes void of value as the event series cease inside the silence. This one time slot is not attached to any memories or expectations or reactions. It assimilates a state that was never experienced.

 

As revolution is not an action that is launched by people, it is rather a reaction or result of stagnant inaction over a long period of time against people where no “ifs” were available to contemplate on. Consequently, another what if question arises: what would have been our aspirations as humans if there weren’t action for us to react to? 

 

The doubt I encountered around my true desires and decisions were as such directly influenced by this action as I was confused on the true cause and reason for my desires and decisions. Were they genuine aspirations that I was born with and had to discover along the way? or were they mostly the outcome of my reaction to actions encountered throughout my life. An aftershock of that image perceived during many years of voices.

 

Körperliche Dialogue

Ausufern 2021

August 2021
Uferstudios - Berlin 
Choreography: Akiles
Dance: Sabine - Niels– Sirine
 
Die Absicht dieses Experiments ist es, soziale Kommunikation, die durch den Körper hergestellt wird, zu untersuchen. Gemeinsam überprüfen wir, welchen Einfluss die soziale Umgebung und insbesondere die Wirkung der COVID19-Schutzmaßnahmen und die Abstandsreglung von 1,50 Meter auf uns hat.
Wir fragen, in welches Verhältnis wir uns dadurch begeben und wie sich unsere Beziehung verändern. Wie sehr waren unsere Charaktere und unsere Neugier als Mensch betroffen? 
Tänzer tanzen im öffentlichen Raum, mit Objekten, Gebäuden, Autos, Bäumen und Passanten. Wir entwickeln eine körperliche Praxis und arbeiten mit unserem Präsenz im Raum. Es geht um Improvisation basierend auf Übungen und Dialogen, um gemeinsam eine andere Ebene der Kommunikation zu erreichen. Dazu gehören auch Nicht-Antworten, Menschen, die uns ignorieren, unsere Anwesenheit nicht bemerken oder die Richtung ändern, da es um den ausgetauschten Einfluss geht, der in der spontan stattfindenden Interaktion projiziert wird. Wie viel kann sich der Tänzer bewegen, ohne von der Reaktion des zufälligen Publikums beeinflusst zu werden, einschließlich Ignoranz, Unaufmerksamkeit oder einem lustigen Vorfall. Wie verbunden sind wir mit unserer Atmosphäre, der Natur um uns herum, den Menschen und Orten.

24 Frames per Second

Kaserne Basel 2020

Nikitin Project

A production by It's The Real Thing Studios, in co-production with: Kaserne Basel, Gessnerallee, Wiener Festwochen.
With " 24 frames per second " Nikitin follows up his pieces "Attempt of Dying" and "Hamlet" and creates a musical painting about the vulnerability of the body, between documentary realism, appropriation art and surrealism. The evening looks not least at what takes place between the images, between the movements - at the gaps in space, at the passing of time.

Concept and execution: Boris Nikitin
Costume: Lee Méir
Sound: Kukuruz, Adolfina Fuck
Music: Gay Guerilla/Julius Eastman, Sacre/Boris Nikitin, Medley/Kukuruz & Boris Nikitin
Stage: Johannes Maas, Annett Hardegen, Boris Nikitin
Technical director: Benjamin Hauser
Assistance equipment : Kerim El-Mokdad
Dance / Performance: Josefine Mühle, Renen Itzhaki, Natascha Moschini, Akiles, Eli Cohen, Dessa Ganda
Production: Annett Hardegen / It's The Real Thing Studios.
“24 frames per second”is a collaboration with the piano quartet Kukuruz, the choreographer Lee Méir and the video artist Georg Lendorff. Ongoing Project.

NON-SCIENTIFIC TALK

16 November 2019
Sophiensaele

Berlin – Germany

In a world run by a pre-dominant system which resulted by industries and business taking over economy and thereon society, you find yourself moving further away from your ambitions and plans. This is an effort to include the consequent integrated human concerns into one’s initial objectives and goals, as an attempt to hold on to those dreams and aspirations. One case scenario is the medicine industry affecting our lives directly. How much support does medical science really provide to the patient target group?

The Space In-between (Berlin Edition) No Limits 2019

Performance, mess, musings, cups of tea, glitter and protest: A festival within the festival, occupying a utopian space in between. It features upcoming artists with and without disabilities from across the UK and from Berlin.

A production of No Limits Festival (Berlin) and Metal (GB) in cooperation with SOPHIENSÆLE. Media partner: Berliner Behindertenzeitung Berlin Bühnen, Tanzraumberlin, taz. die tageszeitung, Siegessäule, Zitty.

The Pain...The Pursuit

Uferstudios / Weltoffenes Berlin 
2018



Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own re ection; the resolution was learning to dance the pain out.

Dance & Choreography Muhamed Al-Agaili (Akiles) In collaboration with: Lea Martini Sound Nils Plambeck
Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

Uferstudios
Weltoffenes Berlin
 2018

Whether visceral or somatic, whether throbbing, burning, dull or stinging, gnawing and capturing everything, or as a quiet basic note of everyday life: we all know pain. This complex sensory perception, which occurs due to a physical or mental injury, throws us back to the loneliness of our existence. In light of a personal experience as a dancer suffering from pain and disease related to his physique after undergoing the shocking diagnosis with MS Multiple Sclerosis , Akiles began to think more of his career as the two
are closely related to each other. Confronted with the company of agonising ache and vulnerability to endure for entire days and nights, he realises it is a must to step into the challenge. Despite the resident pain that doesn’t leave, he was lead to continue dancing, moving and creating thus attempting to sublime spiritually. There is no point waiting for the pain to stop as it is not going to stop on its own, it is bound by one’s own rejection; the resolution was learning to dance the pain out.


Dance & Choreography Muhamed Al-Agaili (Akiles)
Sound Nils Plambeck Clandestin Song Ibrahim Maalouf
Production assistance & „The death Monologue Poem“ Sirine Malas

Made possible by the funding of Senatsverwaltung für Kultur und Europa des Landes Berlin in the frame of the Fellowship Program „Weltoffenes Berlin“.

CARTE BLANCHE 

Ausufern 2018

An open stage, an ephemeral cabaret, a temporary construction on the edge of falling apart that openly shows its tricks and ropes. A show.


The Parallel Side of the Road

Sophiensaele - Tanztage, 2017



Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Video hier

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.

Choreography, Performance, Costume, Stage Akiles Music Saad Thamer

The Parallel Side of the Road

Sophiensaele - Tanztage, 2017

Akiles theoretically and practically examines present day religious rituals and their dance practices and combines contemporary dance and spirituality. Even his own experiences as a refugee during the past four years ow into the project.


Choreography, Performance, Costume, Stage Akiles
Music Saad Thamer

EGO Document

Collectif K L I P

19 October  2017
K Salon - Berlin
 


A performance and installation night featuring identity portraits of a number of young individuals with migration background.

by Akiles

Produktionszentrum Schloss Bröllin in Mecklenburg/Vorpommern Espace Paul Jargot in Crolles (38) – Grenoble

Like all great things, we started small. We took a few like-minds with a shared vision—and ran with it. Today, we’ve grown into something big.

Here you might briefly introduce yourself and explain what you do. What makes you unique, and how can you help your customers? You don’t have to write a lot. It’s actually a good idea to keep your text short, since most people don’t read very much on a screen.