Hundreds of scarves fill the stage: Juventus Turin, Kirmes Pirmasens, “High as fuck,” Sauerland Powerland, Iran, All Blacks. Well-known and niche symbols, serious mottos, and absurd slogans weave a dense web of references. In the performance NON + ULTRAS, Moritz Ostruschnjak uses the logic of social media to examine the connections between fan culture, fanaticism, and contemporary forms of political protest.
Although the starting point is the world of soccer—stadium chants, archival footage of matches, and deserted stands—the performance quickly transcends the realm of sports. Here, ultras culture intertwines with politics, urban style with abstract movement, and moments of silence with an intense barrage of images and sounds.
Overturned police cars, flares, and plush mascots meet Arabic songs, English stadium chants, the Mickey Mouse Club, and Beethoven. Using dance, video, and music, Ostruschnjak creates a multilayered landscape of the present—a world subject to the power of images, paying homage to both celebrities and populists, and at the same time becoming increasingly polarized. NON + ULTRAS is a dynamic reflection on the mechanisms of collective identity and the emotions that shape today’s societies.
A discussion with the artists will follow the performance.
Although the starting point is the world of soccer—stadium chants, archival footage of matches, and deserted stands—the performance quickly transcends the realm of sports. Here, ultras culture intertwines with politics, urban style with abstract movement, and moments of silence with an intense barrage of images and sounds.
Overturned police cars, flares, and plush mascots meet Arabic songs, English stadium chants, the Mickey Mouse Club, and Beethoven. Using dance, video, and music, Ostruschnjak creates a multilayered landscape of the present—a world subject to the power of images, paying homage to both celebrities and populists, and at the same time becoming increasingly polarized. NON + ULTRAS is a dynamic reflection on the mechanisms of collective identity and the emotions that shape today’s societies.
A discussion with the artists will follow the performance.
Duration: 75 minutes
The performance features strobe lights and smoke.
This performance is recommended for audiences aged 12 and older.
The performance contains loud sounds and music.
COMPANY
Choreography: Moritz Ostruschnjak
Choreographic collaboration: Daniela Bendini
Dancers: Guido Badalamenti, David Cahier, Edoardo Cino, Daniel Conant, Nora Monsecour, Roberto Provenzano, Miyuki Shimizu, Magdalena Agata Wójcik
Video: Moritz Stumm
Lighting Design: Tanja Rühl
Music Mixing and Editing: Jonas Friedlich
Set Design: Moritz Stumm, Moritz Ostruschnjak
Costumes: Daniela Bendini, Moritz Ostruschnjak
Dramaturgy: Armin Kerber
Production Manager: Susanne Ogan
PR / Promotion: Simone Lutz
Administration: transmissions
Touring: Oliver Chrzanowski
Choreographic collaboration: Daniela Bendini
Dancers: Guido Badalamenti, David Cahier, Edoardo Cino, Daniel Conant, Nora Monsecour, Roberto Provenzano, Miyuki Shimizu, Magdalena Agata Wójcik
Video: Moritz Stumm
Lighting Design: Tanja Rühl
Music Mixing and Editing: Jonas Friedlich
Set Design: Moritz Stumm, Moritz Ostruschnjak
Costumes: Daniela Bendini, Moritz Ostruschnjak
Dramaturgy: Armin Kerber
Production Manager: Susanne Ogan
PR / Promotion: Simone Lutz
Administration: transmissions
Touring: Oliver Chrzanowski
Production: Moritz Ostruschnjak in co-production with Muffathalle and Theater Freiburg
This project was made possible with support from the City of Munich’s Department of Culture, the Fonds Darstellende Künste using funds from the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR program, and BLZT — the Bavarian Association for Contemporary Dance — funded by the Bavarian Ministry of Science and the Arts and the District of Upper Bavaria (Bezirk Oberbayern).
Additional support was provided by the Kunstfestspiele Herrenhausen in Hanover and the Theater im Pfalzbau in Ludwigshafen. Moritz Ostruschnjak is a member of the Tanztendenz München e.V. association.
The project is co-funded bythe Goethe-Institut in Warsaw.
This event is made possible thanks to the support ofthe Bavarian State Association for Contemporary Dance (BLZT), funded by the Bavarian Ministry of Science and the Arts.
This project was made possible with support from the City of Munich’s Department of Culture, the Fonds Darstellende Künste using funds from the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR program, and BLZT — the Bavarian Association for Contemporary Dance — funded by the Bavarian Ministry of Science and the Arts and the District of Upper Bavaria (Bezirk Oberbayern).
Additional support was provided by the Kunstfestspiele Herrenhausen in Hanover and the Theater im Pfalzbau in Ludwigshafen. Moritz Ostruschnjak is a member of the Tanztendenz München e.V. association.
The project is co-funded bythe Goethe-Institut in Warsaw.
This event is made possible thanks to the support ofthe Bavarian State Association for Contemporary Dance (BLZT), funded by the Bavarian Ministry of Science and the Arts.
gallery
Photo by Franziska Strauss
A choreographer and dancer based in Munich. He began his artistic career in the graffiti scene, and breakdancing was his first step toward contemporary dance. He studied at Iwanson International in Munich and then trained at the Maurice Béjart School in Lausanne.
Since 2013, he has been creating original performances, developing a distinctive choreographic language that combines inspirations drawn from street culture, digital media, and contemporary social phenomena. Among his most recent works are CRY WHY (2024)—a duet for two dancers, two pianos, two pairs of roller skates, and a pianist—and NON + ULTRAS (2025). In 2025, he also created CARDBOARD SESSIONS, a project featuring dancers associated with street culture, produced in collaboration with the International Dance Festival and presented at the Pinakothek der Moderne in Munich.
Ostruschnjak’s works have been presented at numerous international festivals, and three of his performances were selected for the program of the prestigious TANZPLATTFORM DEUTSCHLAND. The artist also creates commissioned choreographies, including TRAILER PARK for the tanzmainz company (2023).
Moritz Ostruschnjak was one of the artists in the Aerowaves Twenty21 program; he is a recipient of the City of Munich Award for young artists in the field of dance, and a member of the Bavarian Academy of Fine Arts and the Tanztendenz München e.V. association.
Since 2013, he has been creating original performances, developing a distinctive choreographic language that combines inspirations drawn from street culture, digital media, and contemporary social phenomena. Among his most recent works are CRY WHY (2024)—a duet for two dancers, two pianos, two pairs of roller skates, and a pianist—and NON + ULTRAS (2025). In 2025, he also created CARDBOARD SESSIONS, a project featuring dancers associated with street culture, produced in collaboration with the International Dance Festival and presented at the Pinakothek der Moderne in Munich.
Ostruschnjak’s works have been presented at numerous international festivals, and three of his performances were selected for the program of the prestigious TANZPLATTFORM DEUTSCHLAND. The artist also creates commissioned choreographies, including TRAILER PARK for the tanzmainz company (2023).
Moritz Ostruschnjak was one of the artists in the Aerowaves Twenty21 program; he is a recipient of the City of Munich Award for young artists in the field of dance, and a member of the Bavarian Academy of Fine Arts and the Tanztendenz München e.V. association.
Moritz Ostruschnjak
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