Die Bretter, Die Die Welt Bediuten | Embawo Ezitegeza Ens

Die Bretter, Die Die Welt Bediuten marks another profound collaboration between Ssempijja and Company Christoph Winkler, a partnership that has consistently pushed the boundaries of contemporary dance. This project began as a research initiative in Uganda, where Ssempijja and Winkler not only explored the intersections of African and European dance but also contributed to the Ugandan dance community by renovating the only contemporary dance studio at the National Theatre in Kampala. The renovation breathed new life into a vital cultural space, fostering a renewed sense of possibility for local dancers and artists. In a symbolic gesture, the old wooden floorboards from this studio etched with the history of countless movements were repurposed as props in the performance, carrying the spirit of Ugandan dance to Berlin.

Premiered at Ballhaus Ost in Berlin in 2018, Die Bretter, Die Die Welt Bediuten The Boards That Mean the World) is a politically charged piece that interrogates the complex relationship between East Africa and Germany through movement, voice, and humor. Drawing inspiration from Friedrich Schiller’s poem To My Friends, in which he reflects on his small world in Weimar as a stage for greater global affairs “Yet we see the great of every age / Pass before us on the boards that mean the world”—Ssempijja and Winkler reframe this idea to question the dynamics between contemporary African and European dance. The floorboards, physically transported from Kampala to Berlin, become a powerful metaphor for this dialogue. They carry the ideas, histories, and movements developed on them, inviting a recontextualization of space, ownership, and narrative. Whose stage is it? What stories are being told, and whose world do they represent?

Performed by Robert Ssempijja, the piece blends dynamic choreography with vocal elements and a sharp sense of humor, creating a multifaceted exploration of cultural exchange and power structures. The physical presence of the floorboards on stage serves as a tangible link between continents, embodying the resilience and creativity of the Ugandan dance community while challenging European audiences to reconsider their perceptions of African artistry. The work’s political undertones resonate deeply, addressing themes of colonial legacy, cultural ownership, and the global dance canon, while its humor and movement make it accessible and engaging.

Following its premiere, Die Bretter, Die Die Welt Bediuten toured Germany in 2018 and 2019, captivating audiences with its innovative approach and thought-provoking narrative. The project not only strengthened the ties between East African and German dance communities but also left a lasting impact in Uganda by revitalizing the National Theatre’s dance studio—a space that continues to nurture the next generation of Ugandan dancers.