WHY NOT? PARTY
By and with: Romy Schmidt, Nona Siepmann, Bijan Tavili, Reza Samani, Yung-Ju Tsai, Solar Plexus, Zè Bebelo, Awa Winkel, Judith Jung, David Guy Kono, Capoeira Biriba Brasil Münster e.V. - Mestre Requeijão, Martin Widyanata, MSF Soundsystem Münster, a co-production with Theater im Pumpenhaus Münster.
Premiere: 29th of August 2018 in Theater im Pumpenhaus Münster
WHY NOT? PARTY is the first work of WHY NOT? KOLLEKTIV, which was founded in the summer of 2018 in the region of NRW.
The walk-in sound installation and music theater performance was designed with an evening mood based on a jazz understanding of musical encounters, in which the audience is a participant of a common ritual fading into a shared ceremony.
WHY NOT? PARTY was the invitation to a multi-layered ceremony, to the ecstatic gathering with its many cultural, social and political implications. Through a composed ritual in three acts, 18 musicians, dancers, pregonerxs, sound designers and DJs led the audience through the different stages of an epic experience and invited them to a real party.
In an orchestrated sound space, a choreography of disorder emerged; a sensual design for new forms of community. The city of Münster became audible in its cultural diversity.
Supported by:
WHY NOT? PARTY
By and with: Romy Schmidt, Nona Siepmann, Bijan Tavili, Reza Samani, Yung-Ju Tsai, Solar Plexus, Zè Bebelo, Awa Winkel, Judith Jung, David Guy Kono, Capoeira Biriba Brasil Münster e.V. - Mestre Requeijão, Martin Widyanata, MSF Soundsystem Münster, a co-production with Theater im Pumpenhaus Münster.
Premiere: 29th of August 2018 in Theater im Pumpenhaus Münster
WHY NOT? PARTY is the first work of WHY NOT? KOLLEKTIV, which was founded in the summer of 2018 in the region of NRW.
The walk-in sound installation and music theater performance was designed with an evening mood based on a jazz understanding of musical encounters, in which the audience is a participant of a common ritual fading into a shared ceremony.
WHY NOT? PARTY was the invitation to a multi-layered ceremony, to the ecstatic gathering with its many cultural, social and political implications. Through a composed ritual in three acts, 18 musicians, dancers, pregonerxs, sound designers and DJs led the audience through the different stages of an epic experience and invited them to a real party.
In an orchestrated sound space, a choreography of disorder emerged; a sensual design for new forms of community. The city of Münster became audible in its cultural diversity.
Supported by:
