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Waht Gjallarhorn Foto Helge Hansen Hi Mo33161

Waht The Who Foto Helge Hansen Hi  Mo10285

Waht The Who Foto Helge Hansen Hi  Mo10520

Waht The Who Foto Helge Hansen Hi  Mo19848

Waht The Who Foto Helge Hansen Hi  Mo19911

Glitter, savagery, spirit – and the collective spirit. WE ARE HERE TOGETHER. For this&nbsp;double production&nbsp;Carte Blanche has invited the choreographers Mia Habib and Marcelo Evelin, two exciting and adventurous personalities with a willingness to confront themselves and others, to challenge the opinions of others, and move into each other’s bodies.



Gjallarhorn Choreography: Mia Habib When the Gjallarhorn sounds, it means danger is approaching, so everyone must wake up – even the gods. Its vibrations carry into the worlds of the gods and men, and on into the underworld. The horn marks the start of Ragnarok, which is the destruction and renewal of the world, as related in the Norse mythology tale of Voluspå.















Inspired by seismic activity, Norse mythology, Arne Garborg’s Haugtussa, and group rituals, Mia Habib and the dancers of Carte Blanche explore the primaeval forces that are released when there are massive, fundamental upheavals in our physical existence.

 















In 1895, Arne Garborg wrote the ode Gumlemål&nbsp;as a central part of his collection of poetry Haugtussa. The ode is written in the oldest style found in the Edda collection, and conjures up mobilisation and Ragnarok. Garborg used the ode to direct some tough socio-political criticism at the then power elite. In Gjallarhorn, Habib uses Norwegian cultural heritage and the most powerful forces of nature as a starting point for her warning.

 















‘The sun turns black, the earth sinks in the sea, the hot stars down from heaven are whirled. Fierce grows the steam and the life-feeding flame, till fire leaps high about heaven itself’ (Voluspå)













 













The Who of Things Choreography: Marcelo Evelin&nbsp; The Brazilian Indians regarded everything in the world as human: The stones, the trees, the sky and the rain existed for them as an embodiment of humanity. They also practised cannibalism – they ate their enemies, their masters and the people they honoured, in order to preserve ‘the other’ in themselves.















The Who of Things uses the metaphor of anthropophagy – or subjective cannibalism – as a springboard for presenting the idea of ‘the other’ within us. With rhythm as the language and rituals as the visual language, the piece approaches the ecosystem as an organisation of lifeforms, from the complexity of a beehive to the savagery of a herd of wild animals.

 















Beyond a misguided individualism, which through the years has kept colonialism going, is the quest for a common platform, a state of solidarity, and an increasing degree of humanity for all beings.

Det å gå tilbake til naturen, urkreftene, det uforståelige og grunnleggende er blitt gjort mye i scenekunsten (...) men sjeldent har det vært så vellykket som akkurat her.

We are here together

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