M&M Creative, Berlin
art, Berlin, events, Humour, Language, Life in Berlin, Literature, News, people, politics, theatre, things to do

M&M Creative: Workshops for Individuals and Business

I’ve started a company! Everyone else in Berlin has a startup, so I thought I’d launch one too.

M&M Creative, Berlin
M&M Creative, Berlin

I’ve joined forces with actor and writer Mary Kelly, and together, we’re devising original workshops to help individuals and companies maximise creative expression. We have twenty years combined coaching experience (BBC, The Opera Stage, Berlin and The Gaiety School of Acting, Dublin) and our publications include The New York Times, Nick Hern Books, Penguin Random House, Stinging Fly Press, Asia Literary Review and more.

Great. So when’s the first one?

Our first workshop is for women, trans and non-binary people who want to start writing, continue to develop their craft, or anyone who needs a creative boost. It will take place on Saturday 9th March, from 10 am — 5 pm in Kreuzberg.

How is it original?

We are combining an actor’s approach to character and story with a writer’s.

We will be working on character development, dialogue, structure, layering and subtext by getting people on their feet, into their bodies, and using their physical voices, so what lands on the page is the most connected and full-bodied expression.

What will I get out of it?

You will leave the workshop with new and original work, energised and equipped to continue.

What other workshops are we devising?

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M&M Creative, Berlin

Improv for Writers.

Improv for Women in Business.

Writing from the Body with Bowspring Yoga.

From Page to Publication.

Flow sessions for writers.

Storytelling and Acting Coaching for Presentations in English (for non-native  speakers)

To learn more and keep up to date, like us on Facebook.

Use Your Voice: A Creative Writing Workshop for Women will take place from 10 am – 5pm on Saturday 9th March 2019 at Lettrétage, Mehringdamm 61, 10961 Berlin. Book now via Eventbrite (€150).

 

 

 

 

 

 

 

 

 

 

nineties berlin at the alte münze
art, Berlin, events, Germany, history, Life in Berlin, Museum, music, things to do

Nineties Berlin at the Alte Münze

“Berlin ist vorbei,” says Andreas Jeromin, a former Berlin squatter. It’s a phrase we hear often. Berlin is over. The coolest, most creative time the city had ever experienced, just after the fall of the wall in the 1990s, is long gone. But the current exhibition at the Alte Münze attempts to revisit the era with Nineties Berlin.

nineties berlin at the alte münze

The Alte Münze seems like a good choice for such an undertaking. The former mint factory now serves as a blank canvas that is regularly repurposed for different events and exhibitions, much like the morphing and the repurposing of old and abandoned spaces that took place in 1990s Berlin. The space lends itself to immersive audio-visual experiences, whether its being used for a Boiler Room event or the wonderful Monet to Kandinsky art show that was on earlier in the year, and the first room of Nineties Berlin is no different.

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A moving collage of old photos and video footage of pianists playing on heaps of rubble, love parade ravers and artists occupying old buildings float by, giving us a feel of the political energy, creative freedom and hedonism of nineties Berlin. A jagged passageway in the centre of the room is lined with old black and white stills of the city.  But to find out more about them, you have to log in to the website and use the ‘interactive bot’, which takes you out of the experience by making you look at your phone and seems like a case of using technology for technology’s sake. Why not just put some text beneath every photo?

The next room consists of videos of contemporary witnesses talking about Berlin in the nineties, including the former squatter mentioned above. I found this room a little disappointing: Of the 14 people featured, only two were women, and the majority were involved in the music scene. What about the rest of the people living in Berlin in the 90s? Surely there was more to the era than the Love Parade?

Nineties Berlin at the Alte Münze

The creators of the exhibition might have had the same thought, because the forth room was a breath of fresh air. No, cold air. Literally. It was a freezing room, which consisted of a brutal and effective memorial to the people who had been shot down before the wall came crashing down at the end of the 80s. However, you couldn’t spend much time contemplating these lingering political and human effects of the wall because the cold temperature moved you swiftly on to the last room, which, again, focussed on club culture before spitting you out into the gift shop.

The gift shop felt like an extension of the exhibition. Poppy and expensive, it commercialised the image of 1990s Berlin without really moving beyond the surface. Everything felt like a simulation of simulacra, making me wonder if, indeed, Berlin really is over.

Nineties Berlin is currently on at the Alte Münze, Molkenmarkt 2, 10179 Berlin.

Anna Holmström performs performs Debris
art, Berlin, dance, events, Life in Berlin, theatre, things to do

Pi – Petricore Movement & Zentire Music at Pfefferberg Theater

Last night, I had the pleasure of seeing Pi, a modern dance performance at Pfefferberg Theatre. There is something about bodies moving through space in exceptional ways that is both delightful, energising and emotional — and this performance was no different.

Anna Holmström performs performs Debris
Anna Holmström performs performs Debris

As a writer, it always takes me a few minutes to let go of questions of narrative and story and enter the flow of the piece. But choreographer Anna Holmström does an artful job in creating a structured and engaging performance that expresses different characters, theme and conflict through movement.

The first composition, Dim 4, is about time, presenting different views of the same moment. It snakes through various moods and music — from the resonant and conflictual to jazzy and playful. The five dancers convey complex feelings and relationships without the use of flashy extras — a cardboard object and a net are the only props used.

In Debris, performed solely by Holmström, a piece of plastic takes on a sublime, airy quality as she dances with it. The piece is about the beauty of the ocean, which is becoming suffocated by plastics, and indeed we genuinely become worried for the dancer as she becomes more and more entangled in it. But the emotion that lingers is  the one of sadness that we see in the long, still moments on the dancers face.

Pi is on at Pfefferberg Theatre for only one more night, so grab your tickets for tonight!

Photo of OSMO, a musical performance at Ufer Studio's in Berlin
art, Berlin, events, Life in Berlin, music, people, things to do

OSMO: A musical performance by Sebastian Blasius and the Sonar Quartett at Ufer Studios Berlin

You walk into room at Berlin’s Ufer Studios. Swirls of salt are scattered across the black floor, orange curtains hang from the ceiling, reminding you of segments of an orange, a silver ball, musicians, music stands and chairs are spread across the studio. As you crunch, crunch, crunch your way across the floor, you stop at one of these stands and pick up an envelope. Inside, is a picture and the words: Perform a dance that hardly anyone can recognise as a dance.

Photo of OSMO, a musical performance at Ufer Studio's in Berlin
Photo courtesy of Ralf Ziervogel

With OSMO, where Beethoven’s last string quartet meets an installation meets an audience, Sebastian Blasius has directed a musical performance with Berlin’s Sonar Quartett that hardly anyone can  recognise as a musical performance. Grating sounds, such as a bow across the hollow wood of a violin, are woven into familiar bursts of classical music. Recordings of children reciting the capitals of countries become a metronome. The musicians keep moving around, and so do the audience.

What results is a space where the line between performer and spectator is blurred. There is also a blurring of the lines separating the arts, so one is constantly stimulated in surprising ways. The ever changing constellations of people, lights, sounds and visuals creates something completely fresh and original. An engaging experience.

OSMO was on at Ufer Studios in Berlin on the 22nd and 23rd September 2107.

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TOA, Berlin, Tech Open Air, 2017
art, Berlin, events, Life in Berlin, News, people, tech

Berlin’s Tech Open Air Festival 2017

Last week, Berlin’s Tech Open Air (TOA) festival took over the city. Now in its sixth year, TOA is an interdisciplinary festival that brings together technology, music, art and science.

The festival consisted of a two-day conference at Funkhaus Berlin, a sprawling complex along the banks of the River Spree that used to house East Germany’s central radio station, and over 200 satellite events that happened all over the city over four days. This year’s festival was the biggest yet, with over 200 speakers and 20.000 participants.

TOA, Berlin, Tech Open Air, 2017

The festival, a bit like technology itself, was pervasive, and, with conference talks lasting an average of 15 minutes each, mimicked the hectic effect of switching between multiple tabs in a browser. It also came with some of the frustrations of modern tech – the conference app did not work, and men dressed in black talked about how important and life-changing their work was without a hint of irony. For example, Magnus Olsson, founder of Careem, which is basically Uber for the Middle East, talked about the principles he lived by, why Careem was life-defining for him, and its social impact, when really, all the dude had to say was, “It’s Uber for the Middle East.”

It was all a bit like this:

 

But there were also tons of interesting talks, and key trends this year seemed to be A.I, VR and Fintech.

My personal highlights included Edda Hamar, Founder and CEO of Undress, talking ethics and sustainability in fashion, Prince Fahd Al Saud, who gave an enlightening perspective on the Millennial Middle East – one that challenged the West’s prejudices and perceptions – and spoke about his aims to support and promote women and feminism, and BBC R&D’s Senior Firestarter (yes, that’s his job title) Ian Forrester, who raised some interesting questions about the future of storytelling while demonstrating the prospects of object-based media. Last but not least, Imagining Coordinator Rebecca Roth, who works at NASA’s Goddard Space Flight Centre, presented some mind-blowing and beautiful images of space. All these talks will be available to view on TOA’s YouTube Channel within the following week.

In addition, I got the chance to try out some VR porn, have a drink at the Amano Grand Central’s Rooftop Bar, hosted by Invest Hong Kong, attend a Mobile Industry party at coworking space Rent 24 in Mitte, as well as an Afterwork Jam at start-up community hub The Factory. All in all, a fun, enlightening and diverse festival.

For more information, visit the TOA Berlin website.

 

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art, Berlin, events, Film, Life in Berlin, politics, science

STATE Festival Berlin: The Sentimental Machine

Berlin’s second STATE Festival, which brings together leading scientists, innovators, social-scientists, artists and members of the public to explore one topic took place recently at Kühlhaus in Gleisdreieck. The topic in question was emotions.

Emoji balloons at the State Festival Berlin, 2016

Emotions are a fundamental part of being human, and our understanding of them not only illuminates our experiences and interactions but also raises important questions about our growing reliance on machines and the nature of Artificial Intelligence (AI).

We often think of emotions as immaterial and internal, but the festival demonstrated how physically palpable and measurable they are. Adam Anderson from Cornell University’s Department of Human Development and Human Neuroscience Institute talked about how our sight and emotions are linked. Emotions, like colour, are created by the visual regions of the brain and everything we see is affected by emotion.

The Festival’s screening of Stefan Sagmeister’s The Happy Film, in which the prominent designer embarks on a navel-gazing journey in the search of happiness confirmed the strong link between the body and emotion. Sagameister pursued happiness using three methods; meditation, therapy and drugs – and drugs was the most effective. The chemical changes they affected in his body made him deliriously happy to the point of falling in love and almost getting married within a matter of weeks.

The link between the emotion of love and physicality was put to the test at the festival’s interactive Sniff and Date session, in which participants did an aerobics session, captured their sweaty scent on a small patch of material, then sniffed out a potential partner. Although smelling numbered patches of sweat felt dubious, it worked! I matched with a lovely Romanian artist with whom I had a lot in common. Yes, it was a woman, who was there with her boyfriend, but it was nice to have a drink with her.

In such social situations, the hormone oxytocin plays a big role. It helps in social bonding, sexual reproduction, birth and nurturing as well as increasing the recognition and mimicry of facial emotions. Neuroscientist Sebastian Korb explained how he used electromyography (EMG) to detect facial mimicry which is so fast and subtle that it is difficult to inhibit. Facial mimicry is important to social interaction as it is key to feeling empathy (therefore procedures such as Botox, which restrict people’s facial movements, impact their ability to empathise).

As we become more dependent on technology, the ability of machines to understand and respond to our emotions will become more important. The Android game Emotion Hero demonstrated what computer recognition of facial emotion could look like. Naturally, this led to questions about whether machines would eventually be able to experience emotions themselves and what the implications of this would be.

If machines could feel, would they be granted the same rights as people? As it stands, scientists use the human brain as a model to make intelligent, self-learning robots. Of course, companies like Nvidia, Google and Intel are nowhere near creating something as powerful as the brain with its 100 billion neurones and 250 billion synapses, but the possibility is on the distant horizon. Toby Walsh, one of the world’s leading experts on AI, said he did not think the Singularity – the point where robots overtake humans – was coming any time soon.

Still, the warnings of prominent people such as Stephen Hawking, who said AI “could spell the end of the human race” and Elon Musk, who compared developing AI to “summoning the demon” were at the forefront of many discussions. Clearly, AI and its implications must be thought about. In fact, people are already thinking about it, but they belong to an elite with commercial interests. For example, those developing the self-driving car are already making ethical decisions such as who the car should kill or injure in certain crash situations.

One of the most interesting interactive sessions was the critical thinking workshop AI Ethics and Prosthetics run by Marco Donnarumma, an artist who explores human-machine corporeality. The conversation took interesting turns, exploring questions from “Would you live with an autonomous prosthesis?” to “Where does the fault lie if a machine is responsible for killing a human?” The conversation raised more questions than answers, highlighting the complex nature of this crucial time in human history.

What was unique and fulfilling about this festival was how it hit all senses – with music, sound, visual art, films, talks, discussions and physical activities. It stimulated anxiety about a machine-filled future, passionate debate, and joy at the meeting fascinating minds – an important, emotional experience.

This year’s STATE Festival took place between 3-6 November.

art, Berlin, events, Life in Berlin, people, theatre

Palast-Talk: British Evening

Friedrichstadt-Palast – the glitzy show palace in Mitte – recently hosted an illuminating discussion about German and British theatre.

Berndt Schmidt and Alistair Spalding, Friedrichstadt-Palast
Photo: Sascha Radke, Eventpress, courtesy of Friedrichstadt-Palast

The talk focused on the differences between British and German theatre. Alistair Spalding, Artistic Director of Sadler’s Wells in London, observed that the British prefer to be entertained, while the Germans think theatre has to be difficult and painful. Also, British theatre is commercial, whereas German theatres are mostly subsidised.

This inevitably led to a discussion about the difference between art and entertainment. Does art have to be political? Dr Berndt Schmidt, General Director of Friedrichstadt-Palast, joked that although many people do not count what the Palast does as art, it must be – because they get funding for it.

He also stated that although the shows at Friedrichstadt-Palast were not political, the theatre’s attitude was open and tolerant. This is a fallacy: Everything is political. Even the choice not to engage in politics and just entertain people is political. It is a choice that says, the status quo is fine and we do not feel a responsibility or need to question it. That entertainment is more important than politics. It is conservatism of the highest degree.

The Palast’s current home on Friedrichstrasse was the last historic landmark building constructed in German Democratic Republic, in 1984. Under communist rule, the Palast’s shows were also used to entertain and placate. In Setting the Scene: Perspectives on Twentieth-Century Theatre Architecture, historian Florian Urban writes that the Palast hosted a selection of the regime’s most popular television variety shows, including Ein Kessel Buntes (A Cauldron of Potpurri); “the Saturday-night entertainment show with which East German rulers had, since 1972, attempted to win the acceptance of their subjects.”

The Palast’s shows supported the ruling order then, just as it supported the ruling order during the Nazi era, and it is – by choosing not to question contemporary society and politics – doing the same today. Luckily, we live in an open, democratic society, which is, apparently, the ‘general attitude’ of the Palast.

But how does the Palast’s ‘open and tolerant’ attitude manifest itself? When the director of Berlin’s largest theatre was asked whether he actively sought to bring diverse voices from the city into his production-process, Berndt replied that he was not thinking about how many women or coloured faces there were in his theatre; he was just hiring people he thought were cool.

If you are not consciously thinking about tolerance, openness, and diversity, you cannot have an open, tolerant and diverse attitude. People naturally choose to work and socialise with people who are similar to them (see Scientific American’s article on how people socialise, or Business Insider’s article on the fact that managers hire people who remind them of themselves). Berndt is a white, middle-class man. If he is just picking people he thinks are cool, he is most certainly picking people who share his background or attitudes, which is not promoting diversity or tolerance but perpetuating a system of privilege and bias.

This system is the reason that no black actors were nominated for the Oscars this year. It is the reason that female hires in orchestras have risen by half since the introduction of ‘blind’ auditions for orchestras, where musicians must play behind screens that conceal their identities.

It is the reason the director of Ireland’s National Theatre came under fire at the end of last year when he announced a line up of 18 men and just two women writers and directors. In response to the criticism, he tweeted: “I don’t and haven’t programmed plays on a gender basis. I took decisions based on who I admired and wanted to work with.”

To deny gender-bias with such a line-up is ludicrous. The people he admired and wanted to work with were people like him – men. The work he connected to was the work that related to his experience – as a white, privileged male. It was only when he was made to think about it – by a counter movement supported by Meryl Streep and Wim Wenders – that he recanted his words. But his comment is one the Director of Friedrichstadt-Palast echoed: I’m just choosing people I think are cool. As a woman in the toilets said afterwards; “Well whoopee for him.”