Hello Vorname, 

Dear Alumni, in this second Edition of the Alumni Guide as part of the DAAD project Alumni Connect:  Share Knowledge and Strengthen Networks, we look back at the project-year 2025 in which we successfully achieved our intended goals.

With the new range of knowledge available in the digital world and with the alumni channels that we have established with the support of DAAD, I appeal to all of you to share your projects and their contents with us and to tag us as well.

The 100-year anniversary celebrations are coming to an end, and we look back at the various events that have taken place. With “Palucca bewegt” and its public discussions and workshops, we were able to create an interactive atmosphere with our graduates. On 30 August 2025, we celebrated our 100th birthday, open-air, in the Archiv der Avantgarden (ADA) with an opening ceremony accompanied by music, improvisation, and speeches.

The documentary film “Die Welt tanzt in Dresden - 100 Jahre Palucca Hochscule für Tanz Dresden” was published with great joy, on 19 June 2025. This will be available to watch in the ARD Mediathek until 18 June 2026: 

27. 09 2025 “ALUMNI NETWORK – I'M IN BECAUSE...” – PHOTO GALLERY

NEW IN THE ARCHIVE - FINDINGS

REVIEW OF HIDDENSEE 2025 *
by Katharina Christl (Rector)

Dance Week Hiddensee has been taking place since 1997 and, since then, it has become an indispensable experimental experience for dance students here at the University. It keeps the connection to our University founder Gret Palucca alive, not only as the location of where she is laid to rest, but also as a reflection of her personal love for nature and, in particular, Hiddensee.

There was a surprise for this year’s 100th anniversary, and we were thrilled and grateful to be able to welcome Hanne Wandtke and Heidrun Müller to our events.  There were many re-encounters and a lively exchange of memories. After so many years, Hanne Wandtke, our honorary senator and one of the most important initiators and long-time artistic directors of the Dance Week, was able to experience once again the creative richness of this week and how this tradition has been preserved.

To give the just due to this important moment with the two contemporary witnesses, a round table event was organised in the OstseeSaal in Vitte. This was accompanied by five musical and dance numbers which skillfully framed personal memories. It was a journey that began at the Palucca School in the 1960’s and lasted until the fall of the Berlin Wall in 1989.

Every seat in the hall was filled, and an unbelievable quietness concentrated in the summer-warmed room. One fanned oneself, enjoyed every anecdote, the amusingly packed pearls of wisdom, and also some very serious thoughts and critique within the context of the times.

COURAGE PALUCCA - FASCINATION AND RESPONSIBILITY *

Palucca (1902-1993) did not want to dance prettily and sweetly and she was not in the least famous when she founded a private dance school at the age of 23.

In this volume, voices are given to those who have a relationship to Palucca (1902-1993), to the Palucca School (founded in 1925, today a university), and who have mental and physical courage. They have done so and continue to do so primarily in projects which encourage and empower people to use dance to bring about change and tackle social injustices with heart and soul. That takes quite a bit of courage. For Dirk Baecker, sociologist, courage is a strategy.

For Palucca, courage was a prerequisite for art.

Students in their 2nd and 3nd years of study within the Bachelor of Dance degree programme at the Palucca University of Dance Dresden reveal how courage can appear even when they are afraid. One could take that to heart, and then, perhaps having courage is no special feat?

The book’s premiere is on 2 December 2025 at 6:00 pm in Hellerau Dresden.

ALUMNI EXCHANGE WITH OTHER COLLEGES OF ART IN SAXON *

On 6 November 2025, the first alumni exchange session with other members of Saxon colleges of arts took place. The focus was on the current situation in the art colleges, for example what are the alumni being offered, how is the financing accomplished and what are the thematic priorities of alumni activities. With the help of our colleagues, we were able to identify potential areas for further development which will be pursued in 2026 through further exchanges.

Dear alumni, we are open to suggestions and new ideas for further developing the alumni network. Please feel free to contact us – we look forward to hearing from you.

ROLLER COAST GUIDANCE IN DANCE -  TIMES OF „SAFE SPACES“
by Wagner Moreira ^{(MAC 2012 | Artistic Master Class 2016)} *

Thank you for following your decision to guide processes, providing space, taking an active part, reflecting on your behaviors and taking a closer look at moments of crises. Tensions, pressure, and stress are often very present in many dance companies and theatres. Most of the time, guiding staff don’t recognize what exactly is the cause of this. Frictions, struggles, and issues are normal when we choose to follow our artistic approach. We have different ways of thinking, composing, producing, performing and creating. Increasingly, those who guide the processes are facing the necessity to transform spaces of frustration into spaces of trust.

A "safe space" can foster communication without fear. Mediations, workshops, company talks, coaches, and other dynamics can provide enough time for understanding and clarifying processes, feelings, struggles, disappointments, difficulties, lack of communication, misunderstandings, failures and while doing so support an environment for wishes, expectations, sharing ideas and suggestions.

We all know that respect and trust have to be bilateral. Lack of communication increases misunderstanding, the lack of trust and empathy, and increases sadness. Those who are aware of such elements and who communicate more successfully can also collaborate more successfully

FEEDBACK: In some cases, feedback should be specific, in some cases, general, depending on the situation and the person involved. In any event it should always take place in a personal one-to-one setting.

CORRECTIONS: A discussion should take place about what correction means and how to make corrections, providing feedback techniques. Corrections should always be constructive.

ENGAGING: A discussion should take place about what engagement means for the piece. The amount of concentration and energy spent on the creative processes and even during performances is a parameter that can vary from production to production and during the season.

ARTISTIC PROFILE/CONCEPT: It’s important to always remember the artistic profile of the company: Diversity, different artistic process, methods and aesthetics. For example site-specific, interdisciplinary and intermixable productions and processes.

CONFIDENCE: Which mechanisms can be used to provide a feeling of confidence for everyone, including in non conventional productions and projects? Since every situation and challenge have different natures and demands, this question must be continuously asked and answered.

ROLES: Which role does everyone have inside of the system? Who, and in which situation, has the power of decision-making? Here the collaborative creation might be related to the „hierarchal“ system as in many theatres and projects. Often, this concept can result in confusion and it must always be discussed and reviewed.

ATTENDANCE AND GIVING SPACE: How to bring transparency to the different work demands of meetings, organising, producing, researching, “care work“/family, moments in life and work-methods connected to positions and roles they have? How to provide transparency and empathy in another person’s work?

CONCENTRATION AND FOCUS: The focus is most often to create a space for concentration and confidence for all the participants and those guiding the process.

LEAVING PROBLEMS OUTSIDE: Personal stress which is not part of your work should be left outside of the working hours. This equally applies for those in positions of guidance and ensemble members. We must not forget that we are all human beings with good and bad days, good and bad moments in life. Tolerance is the key word.

MENTAL HEALTH SEMINARS: Helps to reflect about „distortion of realities“ and other perceptions. An external guidance can have a beneficial and strong impact. BEHAVIOR AND INCIDENCES: Understanding crises, stress or bad behavior can in fact be one way for learning how to deal with individual reactions and „defense zones“. How can we understand someone else’s opinions better and understand why they are reacting the way they are? Since actions are always impulses, reactions, expectations, and needs can provoke all sorts of behavior which require varying responses. With the premise „no one can change any one“ and „everyone can reflect on their own behavior“, the solution is to respect everyone the way they are, the way they think and react! How can we grow together and feel happiness?

Fazit: Over the last 12 years working with more than 200 artists, I have been on a roller coaster of emotions, concerns, thoughts, ideas, reflections, conversation, therapies, seminars, workshops and have, non the less, experienced crises moments. I do believe that reflection and discussions can help anyone involved in a crises process to improve their relationships and work environment. While working as artists, discipline, commitment, responsibility and a respectful environment within the working space are the premises we need and expect from a professional team. I understand physical exercise as a powerful tool for preparing bodies and minds for the dancing process, avoiding injuries through good physical preparation and strong artistic and professional skills during rehearsals and performances, providing different approaches, points of views and ways of physical and mental training Independent of the aesthetics.

The determination and sharing of clear rules for respectful behavior cannot just be expected automatically, but must be communicated at all times. It has to be mutual. I see it as my responsibility to remember this at all times. Different ways of learning and absorbing information can be a big potential for a strong artistic identity. Conflict management belongs to working in any dance company. I do believe that collaborative processes, combined with some hierarchal structures, have an incredible potential for creating a substantial art. On the other hand, I see conflicts as an opportunity for growing together and rethinking behaviors and norms. Don’t forget! Pressure at the workplace isn’t the responsibility of only one isolated person. Share, speak up, be emphatic and patient. The process isn’t a straight line. Ups and downs are essential for growing together, creating feelings of belonging and understanding that everything is also a process. Keep dancing! Keep smiling!

Instagram: @wgnr_moreira

DANCE EDUCATION IN PORTUGAL: STRUCTURES, CHALLENGES, AND THE IMPORTANCE OF INTERNATIONAL NETWORKING FOR YOUNG DANCERS *
by Philipp Knapp ^{(MADT 2016)} 

ON BECOMING CHOREOGRAPHERS
A TOOLKIT FOR BECOMING YOUR OWN BOSS *
by Miller de Nobili 

Have you ever wondered what’s behind the dream of becoming a choreographer? What happens after the studies are finished — and reality kicks in?

The truth is, no one’s ever quite prepared. The field is competitive, the resources limited, and the expectations high. We can’t tell you how to “make it,” but we can share what might be worth considering when stepping into this world — especially if your path includes starting your own company.

That choice means more than being responsible for artistic vision. It means business management, production, communication, touring logistics, funding strategies — skills from entirely different fields, which we learned only by doing, often through trial and error. A short glimpse into our story: we met during the Master Choreography program at Palucca University and began collaborating during the COVID lockdown. Our first piece won the production award from Scapino Ballet Rotterdam — and from there, we never stopped. Since then, we’ve been creating and presenting work across Europe in venues such as La Biennale di Venezia, Teatros del Canal, HELLERAU – European Center for the Arts, Edinburgh Fringe, HAU, Kuopio Dance Festival, Montpellier Danse, Theater Freiburg, and more.

Over the past five years, we’ve had to become our own producers, marketers, administrators, and dramaturgs — often all in the same week. It’s been overwhelming at times, but also full of learning. The following toolkit doesn’t promise answers. It’s just a collection of thoughts, based on things that worked for us, things we wish we knew earlier, and things we’re still figuring out.

Our survival toolkit

1. Take every chance to choreograph
Hofesh Shechter once told us: “The more you present your work out there, the more visibility and experience you get.” Don’t get picky or overthink it. Choreography is a craft to practice with commitment. Every experience, even the underfunded ones, counts.

2. Success isn’t linear
2025 started with a lot of “NOs”: funding cuts, rejections, and a 25.000 € gap on our upcoming production budget. We had fewer jobs, but we kept working, applying, and reaching out — even in the most desperate moments. Eventually, things started moving again. Progress has its ups and downs. It’s hard to see the way out sometimes, but if you don’t give up, it comes.

3. Take care of yourself
We used to think success meant jumping from one project to the next without pause. But that left no space to reflect or rest. And it showed—both creatively and health-wise. In 2024 alone, we premiered Labyrinth in March, There Was Still Time in July, and performed 12 consecutive shows at Edinburgh Fringe in August. Then came guest plays in September and October. It looked impressive on paper. But it didn’t feel healthy. Set your own goals. Maybe it’s one creation a year. Maybe it’s saying no to something that looks “big.” Your energy is a limited resource — use it wisely.

4. Make touring-friendly works
We learned this the hard way: if a piece needs seven dancers, a big set, and an advanced light design, it’s going to be hard to tour — especially when you’re just starting out. Programmers don’t yet trust your name or want to take a financial risk. Compact, flexible works open doors. Our pieces PACK and There Was Still Time have toured the most — not because they’re better, but because they’re easier to present.

5. Get an ally
Doing this profession as a duo changed everything. We say it often: alone, we couldn’t have made it this far. We support each other creatively, but also mentally, emotionally, and logistically. If you can, find someone you trust. You don’t need to carry it all alone.

6. Delegate when you can
It’s tempting to do everything yourself — but that’s the fastest road to burnout. Learn your strengths. Maybe you’re good with Excel, maybe with writing applications, or maybe with marketing. Divide tasks clearly, and don’t be afraid to ask for help. Even if it feels faster to do it yourself, in the long run it never is. We finally let go of our 16-hour laptop sessions when we started working with our production manager Ksenia.

7. Rejection is normal
We still get more “no”s than “yes”s. It’s frustrating— but we’ve stopped taking it personally, or at least we try to. Rejection is part of the game. Keep going anyway. And when the “yes” finally comes — celebrate it properly.

8. Make your writing easy to read
When you write, don’t try to sound smart — try to be clear. The person reading your text isn’t in your brain. Avoid long sentences and abstract ideas. We used to write vague concepts with no clear motivation. Now we start by building a structure, writing in short sentences, and making sure the reader understands what we want to say. The clearer the writing, the higher the chance someone reads it through to the end. And just as important: try to understand who’s on the other side. A funding application for a city institution requires different language than a concept for a festival, a residency, or a private foundation. Each context comes with its own expectations. Adapting your voice doesn’t mean changing your values. It just means knowing what matters to the person reading — and framing your ideas in a way they can understand and relate to.

9. Know your thing
We didn’t start out with a clear mission. Things happened fast, almost by mistake. But over time, we started noticing recurring patterns: collaboration, multidisciplinary tools, and a focus on accessibility. Understanding recurring themes helped us position ourselves within the dance industry — and find opportunities that aligned with our identity. The more you know about your own nature as an artist, the easier it becomes to find the right context for your work — and to communicate it to programmers, partners, and audiences.

10. Develop your connections
Apply often — but know what you’re applying for. Tailor your applications to each context. Out of 30, maybe 2 or 3 will lead somewhere. That’s already a lot. Start small. When we approached Teatros del Canal, we began with a small research residency. Once they knew us, we applied for a co-production — and got it. This way, they first got to know us without having to take a big risk on us right away. Other relationships also matter: fellow artists, mentors, producers. These networks could bring unexpected support.

11. Follow up. Then follow up again.
Sometimes it takes more than one email to get someone’s attention. Not because people aren’t interested — but because they’re overwhelmed by their daily workload. You’re not being annoying, you’re showing that you care. Keep your emails short, clear, and kind so that they are easy to read even for someone who spends the whole day in front of a screen. And send reminders.

12. Take part in choreography competitions
Competitions can feel intimidating. But they teach you a lot. From 2020 to 2023, we participated in at least one each year. These events are also where you meet programmers and peers — they’re part exposure, part education. Ask yourself: Who stood out and why? What caught your attention? What do you want to try next? There’s always something to learn — if you stay open.

13. See as much work as you can — and show up
We don’t always feel like going to festivals and networking. But we’ve never regretted doing it. Every time, we come back with new ideas, new contacts, and fresh energy. People remember faces more than names on paper. And sometimes, the most important conversations start over a glass of wine after a show.

Closing Note
Of course, this isn’t a recipe — just a collection of thoughts we try to keep in mind ourselves. We don’t always manage. Some weeks we forget half of it. Some days it all feels impossible. But reminding ourselves of these tools, again and again, is part of how we keep going. If there’s one thing we’d underline, it’s this: Be consistent — whether that means showing up every day, every week, or every month. Find a rhythm that works for you and stick to it. That’s what separates one-hit wonders from lasting careers. Be patient: invitations, premieres, and touring take time. Sidi Larbi once said, “Success comes in delay.” And we couldn’t agree more.

ALUMNI NEWS & MORE 

RAU(E)NÄCHTE | A PERFORMATIVE INSTALLATION BETWEEN RITUAL AND RESONANCE
by go plastic company

Between the last and the first breath of the year – where time slips through the cracks and certainties waver – we locate Rau(e)Nächte. The new production of the go plastic company unfolds a multilayered landscape of sound, body, and narration, inspired by the twelve mysterious nights between the years.

The Rauhnächte – once customs, superstitions, and protective rituals – are today a space for projection, resonance, and cultural memory. Rau(e)Nächte asks about the potential of this in-between space: What remains when the noise fades? What do we hear when we truly listen?

Twelve figures – developed from mythological, regional, queer-feminist, and pop-cultural fragments – take shape in two experiential spaces: as a walk-in installation and as a resonant, tangible search for traces along a performative table. Bodies become archives, voices carriers of memory, movement a ritual.

The staging interweaves contemporary dance with audio art and installation – accessible and multisensory. It opens spaces for blind and visually impaired audiences as well as for those willing to explore other modes of perception. RAU(E)NÄCHTE is not a retelling, but an invitation: to pause, to feel, to listen together.

PERFORMANCES

World Premiere:
December 12, 2025 - LOFFT – DAS THEATER, Leipzig
Recommended age: 12+ | Length of the performance: approx. 90 minutes

Further performances:
December 13 & 14, 2025 - LOFFT – DAS THEATER, Leipzig
January 29. /  30. / 31. - HELLERAU – European Centre for the Arts, DD, East Wing
February 04. & 05. 2026 - HELLERAU – European Centre for the Arts, DD, East Wing

EVENT REVIEW „DANCE RESO-NANCE – ARTISTIC ATTUNEMENT IN MOTION” FROM SEPTEMBER 25 TO 27, 2025 IN VIENNA
by Noé Valdes Vega ^{(MAC 2024)}

I wore a T-shirt with a NASA logo that I found in a store for 5 euros... I wore it to attend the Planetary Health Annual Meeting 2025 in Rotterdam, Netherlands, organized by the Planetary Health Alliance hosted at Erasmus School of Health Policy and Management (ESHPM). 

Naive me, because some people, given the context, approached me with amazement to ask if I work at NASA. Their amazement (or perhaps their doubt) rose up there, where the rockets go, when I told them that I am a dancer. I was invited to share my work, a Performance Lecture/Movement Workshop (yes, all together in 45 minutes). I developed this in a beautiful collaboration with the Palucca Hochschule für Tanz Dresden, the Georg-August-Universität Göttingen, Museum Friedland, and The Boat People Project. With the artistic advisory from Frédéric Coupet and Prof. Katharina Christl.  

This lecture-performance/workshop explores how movement creates resonance. It shows how theater, dance, and performative actions can connect us with diverse communities, in this ocassion with a focus on planetary health. 

Der Körper ist ein kleiner Spiegel, that is the name, and it works in three languages.

During those days, I had the privilege of meeting people who inspire us to share this time in this space, on this earth, with these people, with this climate, with this hunger, with these wars, with this language, with this love. 

Activists, Indigenous people, researchers, doctors... the list goes on, but I won't go on, because here is a space where, when you try to fit so much in, you end up fitting nothing...

AN APPEAL FROM DR. ANGELA RANNOW | PALUCCA AND THE HISTORY OF DANCE AND THE ARTS *

Take a look now at our new alumni webinars: