Senior Story-Writer for The Pearl, a 62 episodes radio drama produced in 15 Ugandan languages and broadcasted on 21 radio stations across Uganda, thus reaching 80% of Ugandan population. Through everyday stories and recurring characters, the Pearl communicates ideas and guidance on COVID-19, allowing listeners to take proactive measures to fight the pandemic.

The project was implemented by EARS - East Africa Radio Service and Media in Cooperation and Transition (MiCT) and funded by the German Ministry for Economic Cooperation and Development (BMZ).

Concept and Artistic Lead.The LIVING LIBRARY FOR NATURE WRITING is co-designed by citizens, cultural actors, environmental activists, young people and library staff. From these partnerships a model for green cultural mediation emerged in which local nature writers and local actors provided curatorial and thematic expertise for the LIVING LIBRARY FOR NATURE WRITING by co-designing participatory events (Orangery Salons, Reading and Writing Camp, and Networked Library), curating library collections, and imparting specialized knowledge on the four thematic realms of nature writing. T Funded by the Federal Culture Foundation. Together with the city library of Kempten, Sonthofen and Wertach and PAL.

Concept and Artistic Lead. “Intelligent Landscapes” plays with the assumption that knowledge beyond the human-instigated agenda is at work in landscapes and the life forms interwoven within them. Now, in times of climate change, landscapes are suddenly responding differently than we are used to. How and where does this intertwining of our lifestyles with the landscape manifest itself? At which neuralgic points is it worth paying particular attention? Where do our intellectual, emotional, empirical, sensory and perhaps even spiritual synapses to the landscape lie?

Funded by the Federal Culture Foundation. Together with the city of Kempten and PAL.

Independent Research Project. Writing about the connections between Forest and Sea along the Northern Pacific Rim. Hatakeyama Oyster Farm.

"It takes some effort to find the entrance to road 26, which leads away from the town of Kesenuma, destroyed by the tsunami of 2011 and since restructured, to the coves of Sanriku Fukko National Park. The old street branches off inconspicuously between a recently erected Seven Eleven and a Family Mart and soon leaves everything new and rebuilt behind to ascend narrow and steep into the mountains. Each needlepoint curb is marked by a round mirror to reflect oncoming traffic, a reminder of a bygone era, when traffic rules were imprinted in the roads themselves: speeding in such an infrastructure is impossible. Not many people use this route now. The canopy of trees, dense and vivid, the light flickering from leaf to leaf, and where the rays of sun hit the in-between-spaces, arboreal particles dancing in the golden hue. It is hard to keep the eyes on the street ahead. After about a quarter of an hour, the lane descends again and soon an even smaller path leads down towards a body of water, glistening in the distance." Wave Writer Fellowship by Okeanos Foundation

Independent Research Project. Writing about the connections between Forest and Sea along the Northern Pacific Rim. Visiting the Haida Nation on Haida Gwaii.

“Imagine walking through the forest on land, but with kelp species that are just like the forest in a way, in terms of the structure. So we have some really big species like bull kelp that are more like trees and giant kelp. They're very, very tall kelps. When you dive in a forest, you can imagine being a bird from the tops of the trees and flying down to the bottom of the forest and landing at the bottom. And as you do that, you see this beautiful sunlight coming through the kelp forests, and then you get down to the bottom and you have a whole different understory layers. And so equivalent to the shrubs and mosses on land, you see that same structure with different kinds of seaweed as you're diving through the kelp forests and you see different animals that are living at the top of the canopy versus those that are living near the bottom and animals that are attached to the bottom of the ocean that are colorful and bright and look like plants. But they're really animals. It's really quite beautiful.” Wave Writer Fellowship by Okeanos Foundation. Interviews with Guujaaw, Jaleen Edenshaw, Dr. Tom Reimchen, Dr. Lynn Lee and others.

Independent Research Project. Writing about the connections between Forest and Sea along the Northern Pacific Rim. Sound recording Field Trip to Hot-Rainforest on Olympic Peninsula, Washington State.

A rainforest thriving through the waters of the Pacific Ocean. Sounds disappear in the old forest growth. Fern, lichen and moss swallow any voice. Only raindrops through foliage can be heard. This excursion became a chapter in our sound atlas book on silence. "The ancient-growth forest itself serves as an anechoic chamber, but this one is never static, is full of growth and decay, always breathing, making, changing. It is constantly both alive and dying. //Dwelling within the heart of the forest is the northern spotted owl, an endangered bird reliant on an endangered silence. The comb-like shapes of its wing feathers make it a noiseless flier; it chooses when and where it wants to be heard. The signal call: A series of four-noted hoots. Deep, pure tones. A sentence that carries far on still nights." (Excerpt from the Soundatlas, with Isaac Yuen)

Wave Writer Fellowship by Okeanos Foundation

Independent Research Project. Field Trip to Yakushima Island, Japan.

"There is a path marked through the rainforest here called the Shirotani Unsuikyo. It follows steep up the rocky edges of a ravine cutting into the granite mountain, and after a while leads into a forest with old growth trees, left standing by the loggers of past centuries. On the way up, one  encounters separate entities of endemic cedars and rocks, of moss and epiphytes, streams and marshes, becoming one indistinguishable, interconnected organism, radiating in viridescence. Pockets of this ravine thrive with a life force that pulses and breathes. Organic and inorganic textures hum the universal song of life. Filmmaker Hayao Miyazaki eternalises this sensation as the spirit of the forest in his movie Princess Mononoke. He gives it the shape of a sacred deer with antlers like a slime mold growth. We arrive at a spot that must have served for this inspiration. Here, we breathe in the aerosols released by trees and mosses and they enter our bodies and fill our lungs. When it starts raining and we get drenched until not a single fibre of our clothes is dry and the wind sweeps up from the sea, we do not feel as cold as we should have." Wave Writer Fellowship by Okeanos Foundation

Independent Research Project. Writing about the connections between Forest and Sea along the Northern Pacific Rim. Field Trip to Kumano peninsula, Japan, and the Ama communities.

"The Ama were a tribe of women who could live off the Sea. Their ancestors now live on the Japanese coasts. I visit them, we talk and tell stories. “When the sea is too rough, we don’t go out. This is one of the points where we are different to the male divers.” I have never heard about male “Ama” divers before. It’s a new trend, Aiko explains. Because there aren’t enough women to follow in the tradition, men are allowed lately to join as well. “But they do things differently and that is not always good.” she says. Male divers push harder. They will take out more abalones and go in any kind of weather. Aiko feels they take too much and don’t leave enough for the next year."

Wave Writer Fellowship by Okeanos Foundation

When I set out on this research journey to Japan, I came to think of it as a pilgrimage of sorts, a pilgrimage to bodies of water. Japan has a long culture of pilgrimages. There are the 33 Saikoku temples that teach compassion, the 88 temples of Shikoku, or the Kumano Kodo, the path to Kumano.

My own pilgrimage was to feel into the connections we have with water: the sea, rivers, canals, estuaries, waterfalls, sacred lakes, mundane ponds, aquascapes and street aquariums. The lives they hold; our estrangement from their flows and the loneliness this stirs within us. I am hoping to be taken to places and thoughts I had not foreseen.

The flickering reflections of liquid worlds, echoed by the silences of fish, the kelp forests where sea and land meet, silver scales left behind on fishing boats and abalone encounters in caves beneath the surface. Somewhere, I feel, in a river up in the mountains, an ancient salamander waits for all of this to pass.

With each step, each breath, each thought, I will connect to the urgent questions that arise in this age of the Anthropocene. The questions that the world is asking us.

Script Writer. Producer. Sometimes rather small projects become portals to a bigger understanding. Okeanos Foundation for the Sea asked me to produce a short piece for World Whale Day. I could choose from their film archive, and find my own voice and writing with it. Being a mother of three kids myself, seeing these big bodies caress each other so gently, it was clear I had to work with this footage. Writing about the whale families, I felt into their connections.

The music is composed by Dizzy Moon, a Berlin based cellist who grew up near the Sea in the Bretagne. The piece needed a deep bass, to reverberate these big bodies. Dizzy Moon's soundscape lets us explore the fathomless depth of motherly care.

Concept, script-writer and co-director for Love Rituals with Charlotte Roche on Arte TV. Six episodes filmed in Japan, Kenya, Israel, New Orleans, Orkney Islands and India about Love and how we live it. Shortlisted for Bavarian Film Price and Grimme Price, winner of Art&TUR, Lissabon.

It was a mountain, that was calling me. How? Over the internet of course. It simply hacked my google Algorythm.

It called out: Go to Altai, (what Altai? Where is that?)

Ah, the mountainous russian borderland between Kazakhstan, Mongolia and China. (Okay!)

Find Belowodje!

Belowodje, the internet told me, was a hidden land from ancient times where people lived in peace and harmony. Only a few were allowed a glimpse.

I had to go.

For five days I sat on the transsiberian trainway. There was a circus lady sleeping on the bunk bed on top of me who told me she was good with monkeys and hippos. I learned lots of new card games and lost track of time and space...

A long radio feature for Deutschlandfunk Kultur, a poetic soundscape together with Matas Petrikas and a journey on Short Cuts on BBC 4.

Research Grant by Bosch Foundation.

The Cosmic in the Cosmic Loom. Facilitator.

"In 2020, Hella Jongerius asked me if I would help to bring the aspect of the “cosmic” into the loom. Jongerius’ work always comes first from her hands; from touching, playing, experimenting. Where others feel they have exhausted the material and technique, she strives further and goes beyond, sometimes progressively, with a futuristic approach. Her hands intuitively respond, seeking the spiritual; they become teachers that eventually sensitise technology. Her approach is efficient, radical, and yet poetic and sensual.

Together we looked at the archetypes of weaving. We took inspiration from fairy tales, where the sister crafts of spinning and weaving surface time and time again as a medium that brings something into the world. The act of weaving may fuel desire (the miller’s daughter in Rumpelstiltskin creates gold from straw, the most humble of materials turned into the most valuable). It too can be dangerous if not properly handled (Sleeping Beauty pricks her finger on the spindle wrong and a whole nation falls asleep for a hundred years). Conversely it can bring about a process of healing (the sister in The Six Swans weaves six magical shirts out of nettles collected in the moonlight). In such stories, wise women can sometimes appear, to catapult new narratives. My role was to find such people: shamans, energy workers, world-wanderers and witches, even. Women who have “learned the technology of ecstasy”, as the philosopher Mircea Eliade phrases it. To find them I had to connect with the river that runs through all of us. I meditated, practiced, sank in deep, trusted..."

Creating stories and soundscapes for a sense-based experience of a simultaneous interactive walk through two similar quarters in the cities of Tel Aviv and Berlin for Loving Art. Making Art. 2020 Tel Aviv – curated by Avi Lubin. Mirrored Cities is a virtual tour connecting the two cities in times of social distancing, introducing and flipping between sounds, stories, and events from both cities, as they unfold along the route.

With Susa Pop| Public Art Lab, and artists Lila Chitayat and Anat Safran