A Word With Vartan Bassil

Vartan Bassil is the creative mind behind the Flying Steps, the multi-award-winning urban dance company. Founded in Berlin’s Wedding district as an amateur breakdance crew, Flying Steps have since risen to global fame with their electrifying productions. With their new show »Flying Mozart«, premiering on 28 March 2025 at Berlin’s Theater am Potsdamer Platz, they will join forces with the Rundfunkchor Berlin for the very first time—bringing together Mozart’s moving Requiem and breakdance. How does that work, and what challenges does it bring? Choir director Rachel-Sophia Dries sat down with Vartan to find out.

How long have you been working with Flying Steps?

It all started back in 1993. At the time we were just a breaking crew—because breakdance is actually called breaking. We were kids who just danced and battled, and we quickly realised we had talent. We entered competitions, won trophies, and what began as a hobby soon became serious. And now—hard to believe—it’s been nearly 35 years!

Was that in Berlin?

Yes, we grew up in Wedding and always trained together at the Haus der Jugend. It was such an exciting time! I first got hooked in the mid-80s, watching American films like »Beat Street« and »Breakin‘« that showcased hip-hop culture. I was mesmerised—I still remember trying to copy the moves on my parents’ bed! At first it was just a hobby, but this freedom of movement became my life’s motto. I never imagined I’d still be doing it today.

What went through your mind when the Rundfunkchor approached you?

To be honest, I had never heard of the Rundfunkchor Berlin before. At first, I thought: what is this—a choir that sings on the radio? Could we even put on a show together? I did my research and was fascinated by the idea of so many voices performing as one. Very quickly, producer Timm Zolpys and I agreed: we had to make a project happen together. At the time we didn’t yet know what piece it would be or how big the scope could get, but we were thrilled by the idea of performing live with the power of a large choir. We’d never done anything like it before—an opportunity to create something completely new on this scale!

Rehearsals are underway. What challenges are you facing?

One big challenge is understanding the music and figuring out what’s possible on stage—especially with so many people involved. Normally, our shows feature at most twelve dancers. In „Flying Mozart“, there are now as many dancers as there are singers in the choir. That’s huge! The goal is to create a real fusion: dancers and choir working together so seamlessly that, ideally, the audience can no longer tell where movement ends and music begins. Everything should become one whole. Musically, it’s exciting to explore how singing translates into movement. The great thing is—it really works!

What have been some of the highlights so far?

It’s been amazing to watch the pieces we choreographed in advance come alive and see how well they interact with the music. The way the orchestra, choir, and dancers come together feels as though we’ve been collaborating for years. Everyone is aiming for the same goal, and you can sense the joy in the process. There’s this shared feeling that something truly extraordinary is taking shape—something that doesn’t happen every day.

What can the audience look forward to?

I think audiences will experience something deeply moving. Of course, Mozart’s Requiem is funeral music, and we reflect its weight and intensity. But at the same time, we want to turn it toward hope and a vision for the future. You can feel this through the diversity on stage: very young dancers alongside experienced singers, all united by their passion. That mix alone creates something powerful and uplifting.
For me, it’s incredibly moving to see so much joy and love poured into the performance. On stage, just like in society, we all face fears—wars, social divides, even climate change. With this production, through images both intimate and grand, we want to harness our collective energy to create something positive. And if everyone in the audience leaves with something meaningful to take home, then we’ve succeeded.