Dancin' in the Street (Berlin, Germany)

by Andrea Rice

I love watching street performances. I have a lot of respect for someone who is willing to push the boundaries of their comfort zone and perform a creative talent for the public. While visiting the Brandenburg Gate on an unusually hot day in Berlin, Adrian and I were fortunate enough to witness a mind-blowing dance routine by six talented male performers.

The performance was truly innovative in that it combined several dance styles into one cohesive routine, with elements of Cirque du Soleil-inspired acrobatics, break dancing and interpretive free-form. The dancers were seemingly made of rubber, as they could bend their bodies at impossible angles and hold the extension for what felt like an eternity. One performer, whose smallish frame lacked the muscle tone of his fellow dancers, defied all expectation and supported his entire bodyweight on two hands while simultaneously twisting his hips and legs—which were parallel to the ground—in a clockwise direction. It remains a mystery to me how one can manipulate their body to hold such intensely unnatural angles. I couldn’t help but cringe and avert my gaze after a few moments, though joined in with the enthusiastic applause and shouts of praise that followed his act. Another dancer, who appeared to be slightly older than the others and sported earrings, necklaces and a black do-rag that gave him the startling appearance of a bohemian pirate, also delivered a standout performance that included handstands, flips and head spins. Overall, the choreography was relaxed and allowed each of the dancers at least one solo performance while the others swayed and bobbed in the back. While the soloist utilized his stage—which in this case was a large walkway near the Gate— the five remaining dancers stood in an organized line near the speakers. The crowd of onlookers formed a semi-circle around the group, though we took care to stand relatively far back as to allow the dancers sufficient space for their acrobatics.

In this theatrical event, audience participation was a vital component in advancing the performance. It was immediately apparent that our praise and enthusiasm for the spectacle greatly encouraged the dancers to push limits and perform to the best of their abilities. The louder we cheered and applauded, the more confident and motivated the dancers became. Thus, a two-way relationship was formed. Perhaps my appreciation was a touch too obvious, as the six dancers—fueled by my applause and close proximity—turned to Adrian and I and approached us, all while shamelessly shaking their hips in a “come hither” fashion. Fortunately, their devilish grins and pelvic thrusts were thwarted by what could have only been my expression of sheer panic and embarrassment. Accepting defeat, the group retreated back to center stage and cleverly assembled themselves into a human “Titanic”, complete with Kate Winslet—albeit a rather gruff Kate Winslet sporting a wife beater and tattooed biceps—majestically posed over the ship’s bow, arms outstretched. Though the dancers had previously performed to an upbeat hip-hop/electronic mix, the “Titanic” skit appropriately featured Celine Dion’s “My Heart Will Go on”.

The dancer who resembled a bohemian pirate concluded the performance with an announcement that there was “one final act”. To the audience’s sheer amusement, he slyly removed his do-rag and approached the crowd for donations while the others followed suit. I eagerly gave up my spare change before turning away to seek shade with Adrian. Though almost two months have passed since my stay in Berlin, I consider this street performance to rank among the most memorable theatrical events I have experienced while studying abroad.