I am the dramaturg for Gry Tingskog’s Parasight which premieres at Atalante in Gothenburg, Sweden.

December 13-14, 2025

Parasight grows out of a faded faith in the future. If previous generations worked for a better future, today that seems uncertain, perhaps impossible, to imagine.

How can we create a present that remembers the apocalypses that humanity has already caused? What does that do to our future imagining? And how does an image of the future – or the absence of an image – direct our present?

Parasight combines dance with interactive sculptures. The sculptures create systems, which over time become overloaded until they finally collapse. The work embodies a human-technological reciprocity that leads to mutual destruction. Yet the ends don’t end.

The performance is created through a collaboration between Gry Tingskog, Amina Szecsödy, Emil Ertl, Rodrigo Andreolli and Anna Lublina.

Bukhara Peace Agency — Anna Lublina in collaboration with the musicians of Bukhara Philharmonic Orchestra and Sozandas of Bukhara

Magoki Attori Square

16.11.2025 16:30 — 17:10

17.11.2025 16:30 — 17:10

This live performance brings to the stage the poetry of Sozandas – female ritual leaders of Bukhara who interweave Tajik and Uzbek poetry, the musical tradition of shashmaqom, Zoroastrian symbols, and dance. Woven in the epic story-telling form of Bukhoro, Anna Lublina and the performers move between music, poetry, and histories of Bukhara’s diverse cultural forms to ask: what does Peace mean? 

As the story lingers on the poetry of the Sozandas’ music and the celebrated Jewish Sozanda Tufahon Pinksahova, the artist reflects on how surviving ancient practices of polyphonic coexistence found in the multiple ethnicities and faith systems in Bukhara,  might inspire a unique space for peace.

Co-curated by Katya Garcia-Anton and Diana Campbell.

Berlin, 2025

I will begin a new work with Gry Tingskog, Emil Maria Ertl, and Laura Stellaci.

https://ausland.berlin/event/dance-residency-3a

July 7-13, 2025 & October 3-7, 2025.

“My recent research has been focused on Jewish rhythms and how they have changed through colonial and national projects. In this residency, with the support of Emil Ertl and Laura Stellacci, I would like to move with these rhythms through the lens of a sacred trickster. The sacred trickster is the symbol of shape-shifting, of the counter-ego, of the a-moral, the trouble that helps you see the truth, the moment when laughter becomes crying and crying becomes laughter. I want to research this archetype using low-brow techniques of vaudeville (a tradition that Jews and Jewish women especially were instrumental in building throughout the United States). This includes tap dance, mime, and clown. What kind of stories can we tell through these campy and deeply coded forms? How can we use the sacred trickster to both (1) tell a complex history of heritage loss through diasporic Jewish rhythm and (2) love, enjoy, and re-embody my ancestral rhythms? How can my body hold these contradictions? How might the absurdity of movement forms like clown or tap dance deconstruct and reimagine the rhythms? And how might Vaudeville highlight the profundity of their loss? Regardless of the ultimate form, the goal is to tell a different Jewish history, one that celebrates the shared worlds of my Jewish ancestors.”

Germany/Belgium, 2025

Through funding from the Next Steps program at the Crespo Foundation, we will continue our research into mourning the more than human world.

“Veltroyer” is a performative mourning ritual that draws on traditional Jewish and Iranian practices to mourn the loss of more-than-human worlds. The project is the result of an ongoing collaboration between Raha Dehghani Vinicheh, Anna Lublina, and Jerry Lieblich. In 2023, they explored Jewish mourning rites as part of a residency at ID_Tanzhaus Frankfurt and developed a collective ritual themselves, which included obituaries for extinct bird species in poem form. Together with new collaborators, they will now continue their research into ecological grief incorporating Persian mourning rituals and traditions. The results will flow into the conception of a dance piece.

Bukhara Peace Agency asks the audience to consider what ingredients are needed to achieve peace. Based on a previous community-based project in Bukhara “Bukharan Peace Recipes” conducted by Lublina, the agency uses peace recipes from the community to construct a temporary structure. Designed with custom suzanis, kurpachas, willow branches, hanging fruit and herbs; the temporary structure asks us to think about shared histories between different ethnic and religious groups. The structure is accompanied by an audio story about Tufahon, a famous Jewish Sozanda (female ritual leader), and the legacy of Sozandas in Bukhara. Sozandas use song and dance to mix traditions from Islam, Zoroastrianism, and Judaism in their local rituals— embodying intercultural collaboration. The work asks: what is the recipe for making a life together without losing our differences? 

September 5-November 20, 2025

Bukhara Biennial “Recipes for Broken Hearts”

https://www.bukharabiennial.uz/en

Berlin, 2025

I will begin a new work with Gry Tingskog, Emil Maria Ertl, and Laura Stellaci.

https://ausland.berlin/event/dance-residency-3a

July 7-13, 2025 & October 3-7, 2025.

“My recent research has been focused on Jewish rhythms and how they have changed through colonial and national projects. In this residency, with the support of Emil Ertl and Laura Stellacci, I would like to move with these rhythms through the lens of a sacred trickster. The sacred trickster is the symbol of shape-shifting, of the counter-ego, of the a-moral, the trouble that helps you see the truth, the moment when laughter becomes crying and crying becomes laughter. I want to research this archetype using low-brow techniques of vaudeville (a tradition that Jews and Jewish women especially were instrumental in building throughout the United States). This includes tap dance, mime, and clown. What kind of stories can we tell through these campy and deeply coded forms? How can we use the sacred trickster to both (1) tell a complex history of heritage loss through diasporic Jewish rhythm and (2) love, enjoy, and re-embody my ancestral rhythms? How can my body hold these contradictions? How might the absurdity of movement forms like clown or tap dance deconstruct and reimagine the rhythms? And how might Vaudeville highlight the profundity of their loss? Regardless of the ultimate form, the goal is to tell a different Jewish history, one that celebrates the shared worlds of my Jewish ancestors.”

Berlin, 2025

Muslim-Jewish Alliances and Culture of Remembrance

Stories of Muslim-Jewish alliances and a multi-perspective culture of remembrance are currently finding little space. Since the 7th October 2023 and the continuing suffering, the divisions in Germany have also increased further. The discussions in both public and in private are characterized by hardened fronts and enemy images, but also by powerlessness and despair. The question of what and who is publicly remembered is the subject of heated discussions and has a great influence on our present, our current political discourse and social cohesion. With the project Untold Stories of Togetherness, we want to start right there and give more visibility to Muslim-Jewish connections through a journey into the history of Jewish connections.

https://www.junge-islam-konferenz.de/unerzaehlte-geschichten-des-miteinanders/

Rhythm travels, Rhythm migrates, Rhythm adapts, Rhythm resists. Rhythm is a vibration that synchronizes your heartbeat to the heartbeat of another. In this performance, Rhythm is the character of Jewish diaspora, reaching back in time to shared Jewish-Muslim worlds: worlds that were not defined by borders, nationalisms, or divisions that emerged with the advent of colonialism. Artist Anna Lublina and musician hoyah work with tap dance, extended vocal techniques, and live mixing to ask what the political and cultural history of diasporic Jewish rhythm (and its embodiment) can teach us in a time marked by polarization and violence.

Creation / Performance: Anna Lublina and Samuel Hatchwell (hoyah) 

Dramaturgy: Gry Tingskog

Text:Jasmina Al-Qaisi

Scenic / Costume Design: Julie Weitz, Laura Stellacci

Light Design: Gry Tingskog

Outside Eyes: Romuald Krężel

Tap Dance Support: Mariana Souza Prét

Vocal Support: Alex Piasente-Szymański

Production Management: Marit Buchmeier, Lisanne Grotz /xplusdrei Produktionsbüro

April 25-27, 2025, 19:00

TICKETS: https://www.ballhausost.de/the-land-speaks-to-me-of-something-shared/?lang=en&pos=1508

Rhythm travels, Rhythm migrates, Rhythm adapts, Rhythm resists. Rhythm is a vibration that synchronizes your heartbeat to the heartbeat of another. In this performance, Rhythm is the character of Jewish diaspora, reaching back in time to shared Jewish-Muslim worlds: worlds that were not defined by borders, nationalisms, or divisions that emerged with the advent of colonialism. Artist Anna Lublina and musician hoyah work with tap dance, extended vocal techniques, and live mixing to ask what the political and cultural history of diasporic Jewish rhythm (and its embodiment) can teach us in a time marked by polarization and violence.

Creation / Performance: Anna Lublina and Samuel Hatchwell (hoyah) 

Dramaturgy: Gry Tingskog

Text:Jasmina Al-Qaisi

Scenic / Costume Design: Julie Weitz, Laura Stellacci

Light Design: Gry Tingskog

Outside Eyes: Romuald Krężel

Tap Dance Support: Mariana Souza Prét

Vocal Support: Alex Piasente-Szymański

Production Management: Marit Buchmeier, Lisanne Grotz /xplusdrei Produktionsbüro

March 28-29 & April 3&4, 20:00

TICKETS: https://studionaxos.de/de/produktionen/the-land-speaks-to-me-of-something-shared

As a preamble to a larger card game about Muslim-Jewish conviviality and post-nation-state futures, Rüzgâr Buşki and Anna Lublina present three watercolor paintings. Using the form of a traditional ketubah (illustrated Jewish marriage contract), patterns inspired by the tiles of Al-Aqsa Mosque, and a scripted dialogue; the works seek the textures of coexistence within ancestral worlds and examine how these forms have been dissected or altered to fit Western cultural grammars-- or disappeared completely in the name of ethno-nationalism.

MODULE 1: LISTENING
24. - 27.10.2024 / GEBHARDSHÜTTE, ODENWALD

Undying in Yidderland returns to Hessen for the MADE.Festival

Freitag 05.07. / 18 Uhr Beginn und Ende im Foyer des Kleinen Hauses

Samstag 06.07. / 16 Uhr Beginn und Ende im Foyer des Kleinen Hauses

Riksteatern (Stockholm, Sweden)

https://www.riksteatern.se/dans/produktionsresidens-dans/produktionsresidens-dans-2024/parasight/

https://www.cecartslink.org/participant/anna-lublina/

Thursday, February 1 | 7:30PM
Friday, February 2 | 7:30PM
Saturday, February 3 | 7:30PM

2022-23 Renewal Residency Artist Andros Zins-Browne is an NYC-born performance and dance artist whose work has been presented and commissioned globally.

Zins-Browne’s recent work (duel c, River-To-River Festival, 2023) explores ideas of care and violence commingled between bodies. With duel    H, he extends his inquiry into relationships between bodies and ecology, exploring fluidity between human animals and land in their potentialities.

Inhabiting a space where binaries as care and violence, human and non-human, above and below might intertwine, the performance rearranges the hierarchical terms we habitually stand on.

Underground
Under the ground
Beneath the earth
Below the surface
Be low

To exist
An ex-pression of
Ex-
A life out of / from
negation

When life on earth seemed uninhabitable,
We went under
sub
-stance
-liminal
-sists

Subterranean growth
Subterranean light
Subterranean joy

New work by Gry Tingskog

Residency at MDT (Stockholm)

Doikayt (Hereness) is a multimedia performance art project that stages live, character-driven performances at Jewish sites across Eastern Europe to explore themes of loss and healing through a diasporic lens. The project will reanimate Yiddish folktales and revitalize Ashkenazi performance traditions in the lands where Yiddish culture once flourished but was nearly extinguished by genocide. 

The first performances will take place June 27-July 2, 2023. The artwork will be staged as a week-long event on the streets of Kazimierz (the Jewish district) and introduce audiences to a contemporary reimagining of The Seven Beggars, a famous hasidic tale by Rebbe Nachman of Breslov. 

For each day of the performance, Julie Weitz will embody a different beggar and be accompanied by a queer cast of Jewish diaspora artists, including Moriel Rothman-Zecher + Ira Khonen Temple + Anna Lublina. Our vibrant reimagining of Nachman's cryptic tale will invite audience participation and combine poetry, music, movement, and art to reveal how each beggar’s impairment is actually a blessing in disguise.

June 27- July 2

Galicia Jewish Museum

Krakow, Poland

https://32.jewishfestival.pl

Here is to the experience of time framed by waiting and the power relations that are weaved into it. The significant political questions and demands for understanding what waiting have been about. Waiting for an acceptance letter, waiting for a visa appointment, waiting for another year, waiting for my case to come up, waiting for my number to be called, waiting for the morning to rise. I, like many, am still waiting for our voices to be heard and for a sense of calm and belonging to settle in our bodies. In “over and over and over”, three performers long for a channel to tune in, to open up the singular weight of their waiting into a collective experience.

Conception: Raha Dehghani Vinicheh
Performance: Joana Ferraz, Raha Dehghani Vinicheh, Nastya Dzyuban
Dramaturgy: Anna Lublina
Costumes Designer: Laura Stellacci
Sound composer: Shaahin Peymani

March 24-25, 8pm

Mousonturm Kunstlerhaus

https://www.mousonturm.de/en/events/over-and-over-and-over/

Veltroyer is a performance ritual of grief, calling on traditional Yiddish land practices to mourn the loss of more-than-human worlds. The project emerges from an ongoing collaboration between Jerry Lieblich and Anna Lublina. Together, we’ve been exploring ritual and ceremony as performative practice and investigating traditional Yiddish cultural forms as ancestral groundwork for contemporary spirituality and aesthetics.

Our time at ID Frankfurt will mark the beginning of this project. It will give us time for research and to develop initial practices. We will begin by exploring Jewish rituals of grief. How do Jews grieve loss? What regional and temporal variations are there in these practices? What structures can hold the process of loss? What is the relationship to time? Space? The body? Isolation or collectivity? We are interested in seeing how these embodied traditions have shifted over time, and how they may disappear altogether.

We will also research Jewish land practices and conceptions of the natural world.  How does Judaism consider the lives of animals, plants, rivers? Where has Jewish culture drawn the line between “nature” and “culture”? How does it conceive the connections or borderlands between those two realms? What regional, folk, or non-doctrinaire practices exist within the tradition?

Once we have a foundation of research, we will begin to develop our own practices of grief and nature-connection. For instance, we can imagine writing obituaries for the severe loss of birds globally. An obituary for a specific species might be sung or danced in the rhythm of its birdcall. Practices of shrine-building, place-naming, listening, attending, laughing – in what ways can we practice our grief?

“Are we the echo whose voice centuries could not stifle?” - Edmond Jabés

We are the inhabitants of Yidderland, actors in communication with ancestors in the present-past-future. We channel a model of Jewishness–– one that understands Judaism as a diasporic tradition of ever-changing practices that emerge out of intra-cultural relationships. Our performance borrows its structure from a Jewish funeral procession: a moving and sounding body that pauses 7 times for contemplation. But instead of reciting the prayer per tradition, each pause is a ritual act spoken in Yidderish; a language built through the dissection and embodiment of Yiddish without learning the language. 

Are we holding a funeral for Yiddish? We don’t think so. We are voicing the echo of diaspora.

Undying in Yidderland uses the invisible inheritances of gesture, emotion, and instinct to move towards a reimagined future.

Created in collaboration with: lim mui, Gry Tingskog, Eli Berman, Raha Dehghani Vinicheh, Jerry Lieblich, Laura Stellacci

UPCOMING PERFORMANCE

March 24-26, 2023: Mousonturm Künstlerhaus