A  highly dynamic, breathless choreography that works down to the last iconographic image of young male refugees trying to overcome their traumas and reaching out for their dreams to live in peace with oneself and others. It is about trauma and dreams, about healing and hurt, about anger and forgiveness.

“Kalashnikov - mon amour” at Theater Basel. The innermost penetrates to the outside through dance: “Kalashnikov - mon amour” is carried by a wind in which culture shows itself from multiple perspectives: The stage together with the auditorium is a place of exchange about what it means to be human."

Why do young men tattoo a Kalashnikov on their bodies? Is it an expression of violence? Or a symbol of freedom and even hope? At the same time, it is the weapon that has taken away our future and thus reminds us of the war we fled from. being here means living in peace, but the war inside is still present. This piece is about the desire to live in peace with oneself and others. It is about trauma and dreams, about healing and hurt, about anger and forgiveness. A very personal play that translates the experiences of the young refugees into dream-like sequences and brings their hopes and fears to the stage with impressive openness.

A  highly dynamic, breathless choreography that works down to the last iconographic image of young male refugees trying to overcome their traumas and reaching out for their dreams to live in peace with oneself and others. It is about trauma and dreams, about healing and hurt, about anger and forgiveness.

dance theater

Nominated for the STELLA*22 - Performing Arts Prize for Young Audiences in the category "Best Dance Production

TEAM

Choreografie: Corinne Eckenstein

Dancers: Javid Hakim, Ahmad Hazara, Iliya Hosseini, Jasir Karimi, Morteza Mohammadin
Stagedesign: Hawy Rahman
Costumes: Kareem Aladhami
Music: Karrar Al Saedi
Video: Osama Rasheed
Production: Jennifer Vogtmann
Assistence: Sophie Freimüller

REVIEWS

“In a fast-paced, frighteningly aggressive choreography, Corinne Eckenstein
has made it possible to tell a story that contains the stories of many, which
contains neither chronology nor facts, but is ”based on the feelings of these stranded
young men. (...) Eckenstein's stringent choreography, perfectly executed by the dancers offers little room for relaxation."   Ditta Rudle, Tanzschrift

"The images, choreographed in a dense sequence, make it clear how restless the experience of flight can leave you even when it is ostensibly considered to be over. The memories are as incomplete as the asylum procedures. And even if the latter are, discrimination and clichés remain, with which the highly dynamic, breathless choreography works up to the last iconographic image."
(Angela Heide, Wiener Zeitung, 2021)