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Trajal Harrell: Caen Amour. 18.08.2017, Tanz im August, HAU2, Berlin

A play with public-private dichotomy is on display inside an oversized dolls house − the façade of the house is painted with 19-4241 TPX a.k.a. Moroccan blue; windows recall “mashrabiya.” After a note written by the choreographer is handed out  − “Looking back at the hoochie koochie shows, we employ our sexist, orientalist, and post-colonialist readings fixed to the male gaze, gender and racial inequality, exoticism, and sexual objectification.”  − various walking and dancing styles attributed to various genders are represented on this stage. Soon after, we’ll be invited to gaze at the back of the façade where performers change their costumes and get ready for the (temporal) drag runway dance show blended with hoochie koochie-flirts-with-vogue-flirts-with the spirits of Loïe Fuller and Tatsumi Hijikata. Flowers, pink pig, and pink cow sculptures, colorful dresses, magazines from The Wired to Questions de Femmes are scattered around in the interior, meanwhile, sexy dances with colorful costumes and shadow-play take place. The cries, hazy looks, luscious curves with pop songs of Kate Bush and Sade as well as the so-called “oriental music” (as how the Westerners call when it’s not identified).

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