Aktuelle Sprache: Deutsch

something shared

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something shared

An interdisciplinary performance about Jewish-Muslim rhythm with audio description in german language.

Anna Lublina and Samuel Hatchwell (hoyah) playing silver tin oil cans on an edited background of images sourced from a 13th-14th century medieval Hebrew manuscript (a Mahzor) of a person blowing a shofar (a ram's horn used in Jewish rituals for Rosh Hashanah and Yom Kippur)

– Anna Lublina and Samuel Hatchwell (hoyah) playing silver tin oil cans on an edited background of images sourced from a 13th-14th century medieval Hebrew manuscript (a Mahzor) of a person blowing a shofar (a ram's horn used in Jewish rituals for Rosh Hashanah and Yom Kippur)

© by Julie Weitz

An audioflyer in German you find at this link

At 19:30 there will be a haptic tour, the show starts at 20:00

Tickets at this link. Last minute tickets might be available at the door (cash only).

Shows are Friday 2nd AND Saturday 3rd of October!

Rhythm travels, Rhythm migrates, Rhythm adapts, Rhythm resists. Rhythm is a vibration that synchronizes your heartbeat to the heartbeat of another. In this performance, Rhythm is the character of Jewish diaspora, reaching back in time to shared Jewish-Muslim worlds: worlds that were not defined by borders, nationalisms, or divisions that emerged with the advent of colonialism. The piece works with tap dance, extended vocal techniques, and live mixing to ask what the political and cultural history of diasporic Jewish rhythm (and its embodiment) can teach us in a time marked by polarization and violence.

Inspired by the work of scholar Ussama Makdisi (who traces the history of the “Jewish” and “Arab” binary invented in recent history) and artist and scholar Ariella Aisha Azoulay (who re-embodies the craft work of her Algerian ancestors to unlearn Zionist imperialism); Yasmeen Al-Qaisi, hoyah, Gry Tingskog and Anna Lublina look at the ancestral Jewish-Muslim rhythms they have become estranged from: Morocco, Bosnia, Uzbekistan, Andalusia, Yemen, Romania, Palestine. In their research, they have traced the path of the rhythms in the archive, seeing how they changed as their worlds encountered colonial, imperial, and national projects like the Soviet Union, Israel, the mandate system. The rhythms have changed (more or less), just like we have changed— increasingly assimilating into the white western colonial world. 5/7 into 4/4, music in the home moved onto the stages of philharmonics. something shared engages with the political history of these rhythms but it also interrogates our initial premise. Is there a pure ancestral rhythm that we have lost? That the world has corrupted? Probably not. Music and rhythm, like food or technology, cannot be contained by ethnic, religious, or national borders. It contaminates, evolves, mixes, assimilates, advances, resists.

The creation of this performance was supported by: Ottilie Roederstein Stipendiem from the Hessian Ministry of Science, Research, Art and Culture; Frankfurt Kulturamt; Kulturamt Gießen; Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media. Development supported by the LAB at English Theater Berlin and Ma’r’ayah Fellowship for Jewish and Muslim artists at Kunstlerhaus Bethanien.

Practical Information:

ausland is located at the end of a courtyard in a basement space; please note that the ground in the courtyard is uneven.

If you need help to enter ausland, please contact us through the contact form until 3 days before the event. You find it here: 

Choose the category “Accessibility”.

Or call us until 3 days before the event under this phone number: 0178 8896746

Blind / Partially sighted persons and accompanying persons have free entrance. Assistance dogs are welcome. Please register for audio description 3 days in advance.

You can find more accessibility information about ausland here:

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