Green Move

Forest bathing is a wellness trend in Japan. This “forest bathing” describes walks during which the environment is grasped with all the senses. Scientists have found that people who spend longer periods of time in nature have a stronger immune system and are less stressed. Canan Erek was fascinated by this. She is the choreographer of our second Ensemble Mobil production “Green Move”, which was performed in the Kurparks Bad Soden, Bad Vilbel, Bad Nauheim and Bad Homburg from September 10 to 17, 2017.

Spa parks are supposed to be places of recovery. So they’re not that far removed from the Forest Bathing idea. Unlike forests, however, spa parks present themselves in a very designed way. The question is therefore: What effect does man-made nature have on city dwellers seeking inner peace? Together with four dancers from the Rhine-Main region and the Berlin dancer Alessandra Defazio, Canan Erek got to the bottom of this question. In the process, similar but not exactly the same pieces were presented in all the parks, because in each location the dancers reacted to the site-specific conditions. They did not act as individuals, but as a single organism.

Concept-Choreography: Canan Erek
Assistence: Alessandra Defazio
Production: Larissa Koch, Linda Pilar Brodhag
Dancers: Kihako Narisawa, Robin Rohrmann, Francesca Imoda, Keith Chin, Seraphine Detscher, Julia Kathriner, Alessandra Defazio
Photos: Jörg Baumann

A production within the framework of the Dance Platform Rhine-Main.
The Dance Platform Rhine-Main, a projection of the Hessian State Ballet and the Künstlerhaus Mousonturm, is made possible by the Kulturfonds Frankfurt Rheinmain and is supported by the Cultural Office of the City of Frankfurt Am Main, the Hessian Ministry for Science and Art and the Foundation Alliance (Aventis Foundation, Bhf-Bank-Stiftung, Crespo Foundation, Dr. Marschner-Stiftung, Stiftung Polytechnische Gesellschaft Frankfurt A.M.).

“… The magic of Green Move lies precisely in the non-individual, when the dancers do not execute forms but seem to abandon themselves to dynamics, to bending, twisting, pulling, sinking….This does not come across as a message or a deceleration command, but remains art. An empathetic one.”

F.A.Z. 12.9.17 von Melanie Suchy

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