Kammer 2



Director: Trajal Harrell

On stage is an oversized dollhouse, which the audience can later walk around, to look behind the scenes in a literal sense. The dancers can be seen changing, before they come out of the doll’s house in continually changing combinations of clothes. They preen themselves and gently sway their hips. They cover themselves in scarves, they circle their pelvises. The two men and their female counterpart strike alluring poses. In doing so, they superimpose stereotypes of exotic and contemporary modes of body and gender perception. Current post-colonial and feminist debates are packed in their discursive luggage as a matter of course.

The vanishing point in New York-based choreographer Trajal Harrell’s show is the hoochie coochie. This dance, which was popular around 1870 in the United States as a sexual parody of belly dance, signalled nudity, eroticism and sexuality on the one hand, and the experimental joy of dancing on the other. The American choreographer cleverly draws on the period when modern dance invented itself and derived inspiration from the most diverse sources – from vaudeville and circus, new technology and art nouveau, to fashion and exoticism. Linking it to hoochie coochie and modern dance is a proposition: And what a proposition it is!
Co-production: Kampnagel Hamburg, Festival d’Avignon, Theater Freiburg, Arsenic Lausanne,
Gessnerallee, Zurich, ICA Boston, Kaaitheater Brussel, Productiehuis Rotterdam. Supported by the Tanzfonds Erbe (Dance Heritage Fund).

Coproduction Support Kampnagel (Hamburg), Festival Avignon, Theater Freiburg, Arsenic (Lausanne), Gessnerallee (Zurich), ICA Boston, Kaaitheater (Brussels), Productiehuis Rotterdam, Also funded by TANZFONDS ERBE – an initiative by the German Federal Cultural Foundation

Stage Production

Trajal Harrell