valse, valse, valse 

At the beginning of the 19th century, the waltz was criticized for its physical closeness and intimacy with the other body and was also banned in part because the spins put the participants in an intoxicated state. It was believed that the state induced by the spinning unleashed the urges and people pursued their needs without restraint. The almost floating movement of the waltz, the relationship between the two dancers and the accompanying music created a kind of trance. This trance through spinning has nothing to do with losing control, but with the movement itself. Johanna Heusser explores this ambivalence with 4 dancers and 3 musicians, which arises from the fact that from today's perspective, the waltz no longer necessarily has these associations and is rather read as something that was practiced by an upper class and has to do with prosperity. Together, they ask themselves what a contemporary rewriting of the waltz could look like that would uncover the historical potential for disorder and ecstasy?