The performance is based on legends of dancers possessed by demonic melodies; think of the myth of the red shoes that never stop dancing. It is a feat of endurance where the dancers balance between explosive eruptions and tender abandon. In this work, Nordic folklore is not treated as a fixed reality, but as something to be bent and stretched.  

This approach is also reflected in the music. Composer Ingvild Langgård processes the sounds of the traditional Hardanger fiddle into a compelling, modern soundtrack. Visual artist Karoline Bakken Lund designed an environment in which objects and materials sometimes support the dancers and at other times work against them.

Harald Beharie (he/they) is a Norwegian-Jamaican performer and choreographer based in Oslo. His work often emerges from the tension between the everyday and the extreme, with the transformation of the body and space as a central theme.  

Beharie explores how the body and queerness can function as a site for resistance and ecstasy. He prefers to work from the vulnerability of the unknown, using a raw DIY mentality. In his choreographies, the body is the motor: a force in itself that constantly changes form through movement. In previous works, such as Batty Bwoy and Undersang, he uses themes like pleasure and excess to seek out empowerment and liberation.  

His work is presented internationally in museums, galleries, and at festivals. Beharie has won several prestigious awards for his work, including the Hedda Award for best dance production and the Norwegian Critics' Prize.