EMERGE

Program 2026

The EMERGE Festival is not a typical festival where you simply attend a few workshops here and there.
With its track-based structure, it is better described as six parallel seminar-style journeys taking place at the same time.
Below, you will find descriptions of the six tracks.

And yet, there is much more than “just” the tracks:
In the mornings, you can start the day with guided body-based sessions. Throughout the day, there are opportunities to make art. In the evenings, we dance to live music and DJ sets, or gather closely during the poetry night.
You can find the full program further down the page.

Track 1

Dancing the political

A Dance Creation Process

The story, pain, and trauma we carry in our bodies are not just our own; they are shaped by social and political issues, by our family history, and by our roots. In this workshop, we will embody and improvise on social and political themes that you personally care about, using tools I’ve developed throughout my creative process over the years.

We will explore questions such as: what are the layers of my identity — in my dance, and life? And what does it mean to transcend identity, to let go of it, even if just for a moment?

We will research gender identity in our moving body.

As a Palestinian artist, especially in these times, I may also bring examples and references from my homeland. 

One of the exercises we might do: embody your collective, embody the “other side,” and then embody both within the same body.

This process can be emotional, but that doesn’t mean you need to be cautious of it. We will create space for these emotions through softness, conversation, and rest. You will never be pushed beyond your limits — we will hold the group together with sensitivity and care, and there will be plenty of joy as well.

Language: English

Saed Mansour

Saed Mansour (he)

Saed is a freelance Palestinian performance artist, choreographer, dance teacher, and festival producer who was previously in tech. In his work, he aims to create spaces—be it as a performer, teacher, or festival producer—that focus on emotional, communal, and social/political processes.

Saed was born Palestinian with Israeli citizenship (20 percent of the country’s citizens hold this status). His life is political not by choice, but it is rooted deeply in his body and throughout past generations. A big part of his journey of teaching and performing is about dealing with and communicating the wounds carried by generational and ongoing trauma.

Track 2

Subliminal Instruments

What dream is dancing inside you? What song is your intuition humming?

We listen to the soundtrack of our subconscious and explore how art and music act as subliminal instruments.
Through creative experimentation, making music, and the power of affirmations, our intuition finds a voice, and we begin to make dream images and dream sounds tangible.

Inspired by Indigenous knowledge systems, we develop a collective practice for transformation and healing.
The manifestation of a nurturing inner and outer sense of home becomes possible.

Language: German

Tracy Abenaa Osei-Tutu

Tracy Abenaa Osei-Tutu (she/universe)

Tracy is a changemaker and multidisciplinary artist with Ghanaian roots.
In her work, she explores social leverage points that enable decolonial transformation—an approach she has further developed through her studies in political science.

Through dance, music, painting, and performance, she speaks the universal language of imagination.
Her art reminds us that creativity and expression belong to everyone, regardless of background, age, or gender.
She also explores the transformative potential of Indigenous cultures and practices of reconnecting with nature.

Ivo Hlavac

Ivo Hlavac (he)

Ivo is a multidisciplinary artist, art director, and political designer with a Slovak migration background.
His artistic practice moves between graphic design, performance, and social experimentation, with a focus on transformation, visual poetry, and consciousness.

Through the KinderKunstVerein, he creates creative spaces of experience for children and for adults seeking to reconnect with their inner child.
In his conceptual and design work, he reflects on themes such as displacement, system critique, and cultural self-empowerment.
His work has received numerous awards.

Track 3

Even more sensing?

“When We Perceive Again” is the title of my book published in 2021.
People often say to me: “I don’t know if I want that. Do we really have to become even more sensitive? I can’t handle that.”

I can understand that very well. No – let’s not turn heightened sensitivity into a new dogma.
Instead, I wish for us to move open questions together:
How do I stay permeable in an overwhelming world? When is it good to have healthy protection? And how do we do that?
In this track, we will explore sensing just as much as numbness. We learn about the intelligence of our organism, especially the nervous system. We breathe. We feel the ground, ourselves, one another. We explore our needs and boundaries. We try to find a language to communicate all of this. And we place our experiences within the broader context of a society that, as it currently functions, can only do so because we have learned to numb ourselves.

Language: German

Heike Pourian

Heike Pourian (she)

I see myself as a researcher of transformation. The foundation of my work is Contact Improvisation. It is my dance home and an experimental field for transformative processes.
In 2016, my book A Touchable World. Contact Improvisation as a Culture That Moves Society was published. In 2021, it was followed by When We Perceive Again. Meeting the Crises of Our Time Awake and Sensing.
At the moment, my energy flows mainly into building the “Wegwarte”, a learning and research space for perceptive social design and caring forms of economy.
And I am the mother of two wonderful adult children.
www.beruehrbarewelt.de 
www.wahrnehmen.org 
www.wegwarte.haus

Track 4

Tending the cracks

Grief, Collapse, and the Art of Failure

soon…

Language: German

Mala Claer

Mala Claer (she)

Over ten years ago, my Couchsurfing host in New Zealand, who was about my age, said to me:
„We are Generation Y. The Y stands for a fork in the road. Our society cannot continue as it has. It will undergo radical change within our lifetime. By Design or by Disaster.“

Since then, I have worked as a nature-guided process facilitator, leader of nature retreats, and cultural weaver toward the By Design path. For a long time, I believed we could still steer the course.

By now, it has become clear that this process of change will not happen without disaster.
My work now revolves around the questions:

How can we live resiliently and lovingly in times of social and ecological collapse?
How can we mitigate the consequences for one another?
How can we succeed in leaving a livable Earth behind?
What support do the children of our time need from us?

I am a mother of a young child, and we live together with my partner in the Hunsrück region.

Maya Mahn

Maya Mahn (none)

I like to turn over stones, worldviews, and self-images to see what’s crawling underneath—what is nourishment, and what is more like compost.

Track 5

Hospicing Modernity

Which deeply ingrained patterns of modernity still shape our activism today, despite all our efforts?

What does impact feel like on a nervous-system level?
And what could truly modern end-of-life accompaniment look like?

This workshop track is not for the faint-hearted. Together, we embark on an adventure through rough waters. Our endeavor: to dive as deeply and relationally as possible into our own colonial patterns of thought, action, and feeling.

Or in other words: we immerse ourselves in the life processes that are currently leading our society toward its own death.

Our starting point will be a strong web of relationships that we weave ourselves.
From there, we will dive—using, among other things, methods from the Theater of the Oppressed—into our colonial/white patterns.
If all goes well, we will emerge with a vision of depolarizing activism.

Why do we do this?
Out of love for all living beings
Because our activism needs us
Because life is messy, and we are afraid of that
Because effectiveness does not come from urgency
And because, frankly, we don’t really know what else to do

Note: This track references the books Hospicing Modernity and Outgrowing Modernity, as well as the work of the Gesturing Towards Decolonial Futures collective. It is explicitly aimed at white people from the Global North who want to engage with their internalized colonialism—not to “free” them, but to make complexities and entanglements visible.

Language: German

Robin Dirks

Robin Dirks (he)

Robin is a world-walker, an expectant father, a nervous-system activist, a regional pollinator, and a community being through and through.
His work is shaped by a deep engagement with the question of how we as humans can (re)embed ourselves into something larger. Through journeys across many countries and continents, countless seminars and trainings, and many forests and landscapes, Robin discovered transition accompaniment as his heart’s work.
Robin is rooted in the Werra–Meißner region, where he is increasingly weaving himself into regional myths and living networks. He earns his living as a process facilitator.
His home is Haus in der Blume, a salamander conservation area and a place for retreats and regeneration.
For Robin, engaging with his whiteness and internalized colonial patterns is an exciting learning journey and a return to intimate relationality with all that lives.

Leon

Leon (he)

My name is Leon, I am 32 years old, and beetroot leaves me rather indifferent. Its omnipresence feels like too much, and a healthier relationship would mean less. This is something I would also like to invite into my own life: less of everything, less luxury, more compost toilets; more connection with what surrounds us, and less escaping into global structures. This is not about withdrawing from our entanglement—and therefore complicity—in multiple forms of injustice and violence toward the human and more-than-human world. Rather, it is about raising questions:
How can we build locally resilient structures that provide a region with what is truly needed—if that is even possible? What is “needed”, and who gets to decide that?
What does this entanglement and complicity consist of, and how can we hold it emotionally without looking away? How can the nature that surrounds us not become history—and how can stories help create a life-centered connection rather than an anthropocentric one?
In short: I am interested in coloniality and the striving toward decolonial structures, and thus toward post-capitalist and non-patriarchal ways of living. I am interested in myths and stories, and in the power of oral culture in contrast to natural-scientific dominance. I am interested in the dissolving of dualisms and fixed spectrums, in connection with nature, in the courage to speak what moves us, and in humility toward what is, what was, and what will always be.

Track 6

WE - Re-emergence of the collective instinct

In the midst of complex paradigm changes and falling empires, bunches of overly individualized people are craving to return to a collective form that has been long forgotten and seems to be inaccessible. We try to find meaning in facts and ideologies, or in the repetition of ancient forms, but nothing seems to work completely, as we continue the insane race towards an undesired fragmented destiny.

But, what if the highest form of intelligence and expression we can experience together is not rational? What if there’s an immaterial field that comes to life when we become part of a bigger circle? What if this common field of undiscovered potentiality is the doorway to our next steps in evolution?

WE is an invitation to reconsider what you (think you) know about humans in a collective state. And to experience the possibility of letting our natural instinct guide us back to where we always belonged: The flock, the pack, the nest, the hive, the tribe

From morphic resonance to contact improvisation, from anarchy to somatics. A body oriented process with creativity as the igniting fire. Biology, politics, psychology and arts weaving together in this collective countercultural exploration, becoming a possible antidote for a world in dissociation.

Language: English

Nicolás Cambas

Nicolás Cambas (he)

Hi, my name is Nicolas.
I consider myself a curious experimentalist — sometimes an artist, sometimes a teacher, sometimes a therapist, always a student of life. I’m inspired by creativity, intuition, ancient traditions, nature, and the power of the collective. I believe our deepest potential is to be original creators.
I grew up in Argentina, where social and political unrest led me to leave academia and become a nomadic clown. I traveled across South America performing in the streets and connecting with ancestral and shamanic cultures in the Andes and the Amazon. Along the way, I trained in theatre, improvisation, and diverse therapeutic and shamanic modalities, engaging in social and therapeutic work in war and displacement contexts (Colombia, Ecuador, Venezuela, Palestine). Through embodiment, I developed a personal pedagogical approach that integrates these experiences, later sharing my research in Europe within the transpersonal psychology field.
These paths led me to found CaminoCreativo (www.caminocreativo.net). For 18 years now, I’ve facilitated creative and therapeutic processes for people of all ages and backgrounds worldwide.
I’m currently studying Gestalt psychotherapy and Somatic Experiencing.

The further Program

Theresa Leisgang (she)
Gerriet Schwen (mixed pronouns)

Rave Ritual: Facing Collapse

Monday, 8.30pm

What if we radically acknowledged where we are right now? And for once, didn’t suppress what this stirs within us?

Let’s face it: this can be overwhelming.
But we are many. We came to this camp because we know how the world stands.
Because we are deeply committed to working for the best possible futures.

In this 90-minute rave ritual, we create a space together where no words are needed between us.
We dance through the unspeakable, we shake ourselves free, we breathe, we sweat.

To the beat of the music, we let emotions flow like waves through our bodies, moving what too often gets stuck in everyday life.
The meadow becomes our dancefloor, our dance moves become ritual.

SAKURI (dey)

Make Rhythm Resistant Again

Thursday, 8.30pm

SAKURI is a multi-genre artist and board member of the dance and cultural collective Ecstatic Cuties e.V. (organizers of festivals like Juicy Lab in Berlin), advocating for queer and more equitable art and culture in the German-speaking world.

With the project group “Leaving Handprints”, dey developed a tool to increase the social sustainability of (music) festivals.

Musically strongly influenced by hip-hop and electronic dance music, SAKURI explores the resistant potential of the dance floor.
Queer empowerment, danceable resistance, and playful self-expression are the keywords of dey’s live performances, featuring original songs, trombone, and sharp, activating vocals—inspired by the connection of DJing and the original MCing at early block parties and later house parties in Black and queer communities in the USA in the 1970s and 1980s.

Born to slay and speak critique. All that in nice dresses. Artsy, weird, electronic, lyrical, nasty, queer, 161.

Music and more from SAKURI: https://linktr.ee/sakuri.dance

Louka Ananda (none/mixed pronomen)

Concert

The songs that emerge through me come from touch and presence.
They resist the pace of the world—slow, vulnerable, and persistent.
They invite us to pause and perceive again.

My voice seeks a ground for relationship.
Where are you when I show myself this way?

In this, a space sometimes opens for what hesitates, for what is just coming to life yet already carries a song within it.
A quiet form of resistance, grown from my listening, reaching toward the heart of things.

We’re still putting the program together. More program items will follow…