KALEIDOSCOPIA

KALEIDOSCOPIA
an interdisciplinary cycle
about closeness, Isolation, and memories

In the interdisciplinary cycle KALEIDOSCOPIA sonic, visual, spatial, and choreographic dialogues emerge around isolation and foreignness, proximity, encounter, and distance.
Current experiences of these themes in our present come into contact with the memories of people from different generations and cultures who have experienced racism, anti-Semitism, antifeminism, or hostility toward diversity—those who have been victims of violence and discrimination. KALEIDOSCOPIA is an artistic and sonic space for reflection.

For us, „remembering” does not just mean a factual look back at the past, but active solidarity and tolerance for a pluralistic, appreciative coexistence.

The various disciplines portray the shifting of (one’s own) perspectives through experiences such as longing, foreignness, flight, homeland, discrimination, and impermanence in a multifaceted and colorful way – like in a kaleidoscope.

The intense focus on the experience of personal and artistic isolation expanded the exploration of the themes of distance and proximity to include the dimensions of (in)finiteness and eternity – not only in, but also from a spiritual perspective. All four core themes now meet in the complex movement of collective remembering (individual/collective, past/present). The already existing intercultural and interreligious approach within the Asambura Ensemble then led to a new orientation toward the questions and themes of memory culture. Memory culture here represents the reflection on any form of discrimination and racism, diversity, and civil courage. KALEIDOSCOPIA thus reflects and contextualizes the memories of people from different cultures and generations.

In performances of KALEIDOSCOPIA at sites of memory or commemoration, those who have suffered from exclusion, oppression, and discrimination have their voices heard. Their words and texts are whispered, read, or projected, intertwined with music that also deals with sonic remembrance: associations to the theme are reinterpreted through pieces such as Schubert’s Winterreise and Bach’s Chaconne. Seemingly meditative sound passages emerge, coexisting side by side.

At the same time, the Asambura Ensemble also rediscovers its own artistic expression through KALEIDOSCOPIA, collaging and reinterpreting elements from other Asambura cycles (including Fremd bin ich eingezogen, the cycle on loneliness inspired by Schubert’s Winterreise and Persian classical music, or Lux Perpetua, a requiem about eternity based on Mozart’s famous composition). Additionally, it is a unique experience for the musicians to spatially bring their music to life, inspiring collaborative performances with dance choreography, light installations, video art, and projections.

„A kaleidoscope is an inspiring motif to express how the interaction of initially foreign instruments and sounds come together, creating new patterns and sounds. Hearing and seeing these new beautiful forms gives strength and creates space for rapprochement, understanding, and appreciation of diversity. In encounters and through the language of music, sensitivity for the feelings and experiences of others is strengthened across the boundaries of cultures, religions, and even generations.
Music, poetry, and dance can give expression to memories and articulate the unspeakable. Human experiences are alike, even if their forms appear different and foreign at first glance.
In the language of music, people can share their experiences across the boundaries of cultures and religions, overcoming the divides that separate them.“

Dr. Hamideh Mohagheghi | Dr. Buhmann Stiftung für Interreligiöse Verständigung


„An innovative, sensually intoxicating, profoundly touching, and simultaneously performed at an exceptionally high level world premiere. The choreography, specially designed for the premiere, responds to elements of the music in a highly sensitive, magnificent, and expressive way, thereby creating new spaces of meaning. As the last note fades at the end, the experienced kaleidoscope continues to spin in the minds and hearts of the audience in a long moment of breathless silence, before enthusiastic applause rewards the performers.“

Simon Berger | Orchestergraben Blog 


„Here, in the heart of Berlin, in this wounded Parochialkirche, something new is emerging: the intercultural asambura ensemble stretches wide arcs between compositions and the sound colors of cultures with the world premiere of KALEIDOSCOPIA. During the pandemic, clearly felt by listeners and separated from one another, left to their own devices and cast into isolation, asambura as a collective developed its new format KALEIDOSCOPIA.
The concept addresses the question of how collective music might respond to – forced, yet necessary – proximity and distance. On this path of exploration, in the inevitable confrontation with loneliness and longing, remembering gained increasing importance.
And thus, the circle closed with the interdisciplinary cycle, open to all contexts of memory culture.“


Marie-Louise Schneider | Kirchenmusikdirektorin Berlin


„The asambura ensemble builds bridges between seemingly opposing forces
in its interdisciplinary cycle KALEIDOSCOPIA.
In the special concert evening at the Parochialkirche in Berlin, different disciplines,
as well as multifaceted perspectives and experiences of isolation,
foreignness, proximity, and distance,
engage in a moving dialogue through sound, visuals, and space.
A concert evening that is in tune with the times.“

Julian Rieken | betterconcerts.org


“At the core, I perceived the feeling – no, the theme – of ‘overload.’ Music and dance even make it physically tangible for me what an incredible challenge it must be:
leaving one’s homeland, seeking new homelands, carrying the homeland within oneself, making new connections, while not betraying the old –
this palpable sense of strain and overload runs through the evening for me.
With respect and deep emotion, I perceive: What does this demand of a person,
what kind of challenge does it pose to the self, and to the ‘we’ that must be retained
and simultaneously sought anew?!

The tension between detachment and rapprochement is not only felt through the dancers but also through the stage, which ultimately occupies the entire church space…
our journey of discovery through movement and sound.

I feel like I can breathe in this space, again as a contrast to the overload.
The images resonate, we are connected in a special way in the church space,
there is plenty of room for atmospheres and eye contact,
it becomes a kind of delicate togetherness.

The place, as untouched as it was, may also tell its own story.”

Andrea Thilo | film producer (including Rhythm is It!), journalist, and moderator