The idea for this work arose in 2018, when artist Dalibor Šandor asked the critical question why Pina Bausch never made a version of her most famous work Kontakthof with disabled artists.
Perhaps the most famous German choreographer and co-founder of dance theater developed the original version in 1978 with her ensemble of non-disabled dancers. She then staged a version with non-disabled senior dancers in 2000 and with teenagers in 2008.
Dis Contact is neither a reinterpretation nor a reconstruction of Kontakthof. The piece creates new places of contact between artists from communities and cultures that are systematically suppressed in the world where Pina Bausch's Kontakthof has a prominent status.
In this project, all invited artists bring their own observations about Kontakthof from different non-normative perspectives on choreography, body and language. Dis Contact refers to an ethics and aesthetics of care, solidarity and accessibility. These stand in contrast to the normative principles of contemporary dance and dance history - and their absence of perspectives from artists:with disabilities.