“My first successful decision, once I was in a position to make them, was to decide to found a dance workshop (the TanzWerkstatt). We had a fairly good budget which we could juggle around a little, and the first thing that we tried to do was to seek out companies that were just making a name for themselves in Europe but were already very well-known in their own countries, invite them to Berlin, and, as in the case of Bagouet, commission them to create new work. What we realised – and it was a real light-bulb moment for us – was that all of these choreographers and companies, who, as I said, were not completely unknown, had never seen any of each other’s work, not once. The reason for this was the same as it is today: you get invited to a festival to perform your piece, launch straight into rehearsals, have performances for two days, and then quickly leave the next morning, because there isn’t enough money, and the next company needs the hotel room and the theatre space. That meant that none of the eight or nine groups knew the others’ work. And so our very first decision was to say that the groups that we invite must agree to stay in Berlin for at least two weeks, all together. Our second guideline – because we knew that the Berlin scene was still really struggling – was that the companies we invited had to run workshops during the day with colleagues from Berlin. And there was another reason for this… after the 750-year jubilee celebrations, there was a real sort of anger in the scene, not only in dance, but everywhere; partly due to envy, and partly due to false allegations that lots of money was spent on foreigners when it was locals who actually needed it. When we started with the European Capital of Culture stuff, we faced a lot of animosity in Berlin, not just from the press, who were totally against us, but above all from the Berlin art scene, which is why we said from the beginning that the workshop programme meant working with local artists. Through this, we were actually able to get the art scene on our side a bit… and that was completely new in Europe.”