Here are stages for our ideas
Lesezeit: 4 Min.
Katharina, at a recent performance, you said on stage that in addition to your studies, it was the desire to experience “wild” things, that prompted you to leave your hometown. Your first stop was Franken, in Bavaria. What were you looking for?
I was looking for life: intensity, madness, emotions – which I actually found there. I studied at the Music Academy in Bad Königshofen – a place with less than 7000 residents. The first three days were awkward. But then I said goodbye to my past and made myself focus on the essential thing: making music. Because that’s what I wanted to do, anywhere. Besides, we were very few students – every one of us came from other places. That made it easy to bond in an incredibly short time. And when at the first event every student, every professor and lecturer partied wildly together, I knew: I found my home! It was a great time.
You were away for 15 years. After Bad Königshofen, you also lived in Dresden and Bremen. In 2009 you returned to Brandenburg an der Havel. Why?
Because I wanted to feel at home again. I didn’t really feel comfortable in Dresden or Bremen. As a self-employed person, I was able to choose where I was going – and I wanted to go to a place where I knew myself. I didn’t want to experience anything new at that moment, but rather to come to terms with myself. So, I came back to the city of Brandenburg – to my homeland.
The landscape, the sounds, and the scents. The huge bodies of water, the weeping willows. All those winged creatures – the sparrows and the cranes, especially the whistling of the wild geese flying by. And the Beetzsee – that smell of reeds and mud (laughs).
It’s not – but it’s familiar to me. I feel good here. And if I hang up fresh laundry with these scents in and around me and drink a coffee, the world is fine for me.
I feel good here.
What were your plans for your career in Brandenburg an der Havel?
I wanted to make music; play concerts with people I know. And I knew a lot of people who made music and lived here. Unfortunately, I had to deal with a lot of rejection at first. Then I stopped asking others about a collaboration and just started producing everything myself. I started a small studio, wrote songs, recorded and released them on the internet.
At some point the first musicians from Brandenburg an der Havel showed up and wanted to work with me – which made me very happy. Since then, the number of collaborations has increased. I have met many new people here and I feel deeply rooted in the local art scene.
You have sung yourself into the heart of Brandenburg an der Havel with great devotion over the past years. What attracted you to the city?
On the one hand, people here are honestly enthusiastic regarding culture, on the other there is room for events and free space for creativity. You can easily get started here, because there are stages for any idea you might have – Theaterklause, Paulikloster, Gelber Salon, Fonte. That is why I am here.
Here you work with and not against each other here. This attitude distinguishes Brandenburg an der Havel from other cities
Maybe that Brandenburgers have their feet on the ground, they are prosaic and pragmatic, even the art scene here – compared to Berlin, where the scene is aloof and detached. And the honesty and straightforwardness with which the audience reacts here. I really like that. In Berlin you can get on stage knitting and sell that as art – you could never do that in Brandenburg an der Havel. In my experience people here contemplate their work, their art – they take the time to do so. But it is certainly easier to establish yourself in Berlin.
At Mühlendamm – I like to sit and drink coffee, enjoy the view of the reeds, the swans, the water, the sounds and smells – and the view of the cathedral.
For example, the Kleinkunstfestival needs support from the city. The festival in which artists of all kinds participate is based on a private initiative and has become an important and exciting event. It would also be very nice if the theatre would work more closely with independent artists from the city. In addition, the city could promote individual artists nationwide and say: Look, they come from here, from the city of Brandenburg. This would reflect positively on the city, because people would see: Look, there is a small town that promotes its artists; it’s green, it’s quiet and the rents are affordable – that’s where we should move. I am convinced that developments must come from below, from the citizens. But every now and then you also need impulses from above.