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Sita Ostheimer Company

of all work by Sita Ostheimer

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Everything that's left

This is for you. For you, who is looking for a new beginning. For you, who feels nothing and feels too much at the same time. For you, whose body I can recognise from far away and who is alien to me when being close. For you, whose back is telling me more than the face I’m holding between my hands. For you, who doesn’t feel synchronised with anyone, who is longing to connect – waiting, falling, stumbling. For you, the one I’m running after.
This is to you, who is not the only one sensing, feeling, moving and being moved, who is longing to be touched. I’m here. Come with me. Leave us alone.
The duet everything that’s left looks into physical and emotional states of tension and fluidity. Nameless and raw. Two moving bodies explore structures and textures of their outer as well as their inner worlds by connecting to and disconnecting from each other, constantly reshaping their relationship. Created in times where physical touch and human connection is mainly reduced to a minimum, where all of us have to hold back our bodies and its instincts in the face of other bodies, this duet surges for ways to restart a process of finding each other and oneself. It questions once again what humans can be for other humans and moves the viewer through painful, fragile an unstable emotional states towards new and rediscovered fragments partnership.


Four Songs

Love Love Love /  Two Intangibles Can't Be Had /  Love Song

Four Songs was created 2020 during the first Lockdown.

For the love and believe in power of staying physical creative engaged.

Exploring the limitation of frame and room.

Four Songs was part of

Pool International DanceFilmFestival 2020, Dock11 Berlin

Solidairfest Online Festival 2021

full videos on request

Screen Shot 2021-02-24 at 16.56.34.jpg
four songs


Jacare is the Portuguese word for "alligator", Îakaré is from the native Brazilian Tupi language. The alligator is an animal with some significant features: master of physical disguise and adaptability, the embodiment of ancient knowledge of evolution and instinct, unique in its strength and physical condition. Agile and fast in the water, sluggish on land, brutal and frightening, motionless waiting:

the alligator is symbol for the perfection of nature and its constant, unerring repetition, development, change, renewal over the millions of years. But also as a symbol of and a memory of our own biological age and our affinity with all forms of life of uniquely uniqueness. The alligator is a metaphor, an image for the core issues and questioning piece:

which ancient knowledge of nature is
still close to us as humans? How resilient are we? Which stages of change,
transformation and development are we going through, consciously or unconsciously? What is our essence and where do we get strength from?

With a group of seven dancers under, choreography explores these issues, explicitly referring to the female bodies, their personal histories, the conflicts they hold, the contradictions, evaluations and attributions they are exposed to. It asks about roots and origins, about meaning, abilities and belonging in the natural, independent of the cultural and human world.

The secret of the perfection of the alligator lies in the temporal length of its creation. In the duration, patience and consequence of evolution. This perfect-being-not willingly brought before you.

It has come into existence and we humans carry it in us.

But this knowledge usually collides with rational understanding.

The choreography, together with the composition of Pepo Galan,

seeks in this piece over the body, as the part of us on which the evolution
outwardly perpetuated immortalized, which contains our instincts for artistic possibilities, the knowledge of their own Meaningfulness within the community of all life forms to reveal, to rediscover and, last but not least, to enjoy. Choreographically and structurally, the work builds on an up-to-date and constantly evolving idea of movement research by Sita Ostheimer and expands it through new collaborations with 5 other dancers and their bodies and minds.


This project was funded by the

Senate Department of Cultur and Europe Berlin

it was never finished due to Covid-19

With a specific research on improvisation and rhythm it goes one step further.


It questions the possibilities of rhythm as a tool to create a language and human communication within the group. This examination includes the rhythm of space and ways of taking and giving space.


The dancers research how far and in which way the story that they create in the group within the improvisatin can be changed, manipuated and re-invented. In addition they look for ways to develop their own personal story that happens under the influence of the group, but partly can still be independent. In all that movement is the springboard to learn something new about empathy, awareness...


Two is a danced attempt to get into contact with someone in a tying way. Not to avoid, but to commit oneself, even if it means conflict and confusion. Today we are very easily willing to take things and facts for granted, to call them true and fixed in their meaning, only because we have access to them. We confound growing collective intelligence with a growing access to knowledge and information.

The same with human relationships. We don't understand each other better only because our networks are more complex.


Human in pieces
Every beginning is formed by fragments. Fragments that already exist long before us, and that create something new, with or without our consciousness being aware. Human, animal or plant: all living creatures are connected with and related to one another in an endless river of time. No development without a previous development. Every human is rooted in the endless story of evolution and is a unique creation of nature.

Nevertheless, there are moments in every conscious existence that feel like a restart, a new beginning. the birth of new life, death, destruction...

Human in pieces.jpeg

From the endangered Native North American language Miwok-Moquelumnan. Molimo refers to a tribal boy name meaning bear walking into shade.


The preoccupation with the mystical, the ambiguous and the obscur is the starting point for this work. Where the conscious mind, difficulty to grasp the peculiarities presented to it. Find itself in a continuous search for a concrete human existents. Further explored in the fluid unconscious soft passing of time, where human life exist. Molimo conjures up this mystical atmosphere and dance.


"Mystic for me is magic. A world where the heart starts to wonder, to dream, to hope, to grow ." Sita Ostheimer on the mystical.

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