In his solo piece All that I left behind is here, Romuald Krężel draws on his own personal and artistic experiences. The artist returns to his first encounter with dance – a ballroom dancing course, the only free form of dance classes offered at his elementary school. Using choreographic tools, he focuses on various aspects of classicism in the context of performing arts. By relearning and critically analyzing the movements, steps, positions, and styles of ballroom dances—such as cha-cha, rumba, and jive—he explores his own social origins and their connection to his current choreographic practice.

Ghoulish characters, post-punk music, and distinctive aesthetics accompany the artist in a performative return to the past, culminating in an emotional conversation with his mother about class, body, work, shame, and dance.

Imagine a photo of a family of four. Early 1990s, early spring. They are standing together on the slowly greening bank of the Oder River, looking straight into the camera. They are all wearing similar new jackets in colors that blend into the dirty urban landscape of spring—gray for the father, purple for the mother, red-blue and gray-brown for the sons. Everyone seems happy, except for the youngest son, whose sour expression betrays embarrassment and disappointment – as if he would rather be somewhere else.

Choreographer and performer, living and working in Berlin. He graduated from the Department of Choreography and Performance at the Institute of Applied Theatre Studies in Giessen (Germany) and the Acting Department of the Film School in Łódź. His work lies at the intersection of expanded choreographic practices, performance, and visual arts. The resulting movement and text-based performances, site-specific installations, participatory projects, video films, and other hybrid formats address themes related to work, possible forms of resistance, class struggle, and the potential exchange between humans and non-human beings.
In his numerous artistic and research projects, Romuald explores the relationships between art and climate change, as well as the (in)visibility of class divisions in the context of creating and producing contemporary performing arts.

Romuald Krężel