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Post Ironic Moustache is a contemporary dance piece that combines performance and drama in a cinematographic stage environment. Thematically inspired by the writings of the British cultural scientist MarkFisher, in particular the unfinished work of Acid Communism, in which he starts to unravel the neoliberal narrative that reaches a turning point in the late 60s, as means to consider how a post-capitalist society could develop. "Post Ironic Moustache" wants to deal with post-capitalism through embodiment and scenically. It questions what can be learnt from the spirit of the late 60s and how collective decision-making as a method to work can metaphorically stand for our society. Collectivitive living and the atomised individual are themes of the piece and our working methodology.

Choreography and Concept: Charles Washington
Performance & choreographic assistance: Alba T. Alvarez, Lilia Ossiek, David Le Thai, Yuja Fujinami
Music: Charles Washington mit Kerstin Möller u​nd Bernhard Teichfischer
Stage Design: Anuschka Kilian-Buck & Federica Menegatti
Fashion Design: Wenke Sommer & Wiete Sommer
Light: Kristin Feldmann Producation
Managment: Kerstin Möllerz
Film Edit: Lilly Chill
Camara: Christopher Haubold
Co-producation HELLERAU – Europäisches Zentrum der Künste
Funded by Der Kulturstiftung des Freistaates Sachsen Dem Amt für Kultur und Denkmalschutz der Landeshauptstadt Dresden. Neu Start Kultur #TakeAction

Inspired by Kandinsky’s colour theories, Spinner Light questions how colours, as signals of interpersonal relationships, influence different emotions, what unconscious messages are exchanged with each other, how colour brings us satisfaction, like tension or other feelings. Spinner Light is a movement and colour ritual that aims to create a state of harmony among the audience and to generate a space for humanistic hope rooted in a connection of body and mind and collective interpersonal experiences in uncertain political times.

Concept: Charles A. Washington
Film and Edit: Stefan Koutzev.
Choreography incorporation with the dancers:
Seraphine Detscher, Lilia Ossiek, David Le Thai, Charles Washington
Choreographic assistance: Alba Alvarez
Costume Design: Romy Rehxheuser
Light Design: Sebastian Schrader, Kristin Feldmann
Original Musical Score by Charles A. Washington
Creative producer, Project management: Kerstin Möller

Performing Maleness: Uncoding Me aims to engage in a breakdown of stereotypes of the masculine and feminine in our society, describing them performatively and exposing toxic maleness inherent in social structures. It also questions modes of existence and belonging in relation to gender and nationality. What role the overall societal understanding plays in an individual's "I", ultimately allowing for a critical examination of one's own identity . In this work, Charles Washington wants to question his own coming of age as an "I," his norms and values that have made him, as the protagonist of this play, who he is today. A white heterosexual man born in Scotland and living in Dresden. How does ethnic, social and cultural background determine who we are and how the individual sees himself? What else am I besides what is written on my passport? In this piece, choreographer and dancer Charles Washington will explore how this confrontation allows for a different form of male self-expression and how this can help our society reduce a diffuse fear of being female. This piece aims to take an explicit political stance and advocate for a more violence-reduced, feminist society.

Choreography and Performance: Charles A. Washington

Costume: Wiete Sommer

Music composition: Charles A. Washington

Production and administration: Kerstin Möller

Lighting design: (Johann) Geohwan Ju

M ~ {Birnam Wood} performed live at objekt klein a, in Dresden. During COVID-19 when all the clubs closed down around the world, Arte: United we stream streamed live from different clubs around Germany. Object Klein a did it with a twist and added performance. M ~ {Birnam Woods} could be realised in the environment it was imagined. Taken from the stage and placed into a club with live music from Sorse.

Other live performance and set by:

Moritz Simon Geist

Anna Adams

And STILL LIFE by Enrico Sutter performed by Go Plastic Company with music by Murat Önen


Filmed and edited by Ravir Film Dresden

M ~ {Birnam Woods} 

Is a work that is inspired by the collective neo-ritual practice of clubbing and the relationships that are created in these subcultures.  Every club around the world is different in some way or form: the size or shape of the dance floor, the glasses the drinks are served in or the type of music the DJ’s plays every week, what influence does this have on the clubbers? what kind of subculture does this create? and are subcultures curated by event organisers through their careful design of the atmosphere and clientele of a club night? 

M ~{Birnam Woods} is a choreography that is informed by this and aims to generate its own weird and wonderful subculture that is self-generating and influenced by its own creation. It reveals two performers entwined in relationships that have been founded on this subculture where style, language, and community holds them together. In the darkness of the club where their perception has been warped by the intensity of the beat and the visual stimulation of colour and strobe lights. What has changed so deep inside them to perceive the world and each other in a way that grips them so deeply to do it all again the following week? 


This work was made possible thanks to: 

Projekttheater - Dresden 

Der Kulturstiftung des Freistaates Sachsen. Diese Maßnahme wird mitfinanziert durch Steuermittel auf der Grundlage des von dem Abgeordneten des Sächsischen Landtags beschlossenen Haushalts.

Dem Amt für Kultur und Denkmalschutz der Landeshauptstadt Dresden.

Die Dresdner Stiftung für Kunst & Kultur der Ostsächsischen Sparkasse Dresden.

A dance-theatre evening with young people aged from 11 – 18 Jahren Direction: Theresa Meidinger, Jörg Wesemüller

Choreography: Janne Gregor, Charles A. Washington

Satge and Costume: Hyun Hur

Assitents: Teresa Keim, Ahmad Adi


The means to reach out and communicate with family and friends around the world are much greater than they have ever been. With the use of mobile telephones and through constant connection to the internet, our availability and presence within our surrounding networks become continuous.  As we draw sentiments of our own existence from others’ perceptions, we remain outside of ourselves. Therefore, spatially speaking, our self-love is a form of self-estrangement. 
“me” is an interdisciplinary interactive work combining dance movement, visual art and Kinect cameras. Based on the notions of isolation, identity and narcissism, “me” looks at a world where technology is being designed to allow people to communicate more openly and individually. As we become more and more active on social media and forums we are carefully constructing images of ourselves - selves that we wish to be or are a reflection of. Reactions of others to our self-portrayal is recognition of others affirming ones self-distorted objectified identity establishing one's self-esteem and self-love. As the concept of reality becomes blurred between online and offline, what shades of ourself define our identity? A feeling of safety is created in online communities. It is a pleasure that comes from the instant gratification or familiarity that we may need as individuals. Yet this paradox of self-love creates a physical and mental self-estrangement, that asks the question:  what are we leaving behind if the virtual self-becomes what we identify with?

Finding Now 

Finding Now takes the ten commandments as a basic inspiration to build out from. The ten commandments are used to construct different emotional drives in a microcosm of an imagined all-male society, comprised of three men who must find a way to solve their one simple task of inflating a boat.

Finding Now finds itself at different junctions where the male instinct acts as the overriding power, and where logic, reason, and cooperation are forgotten. Making the simple task of inflating a boat a more complex question on the struggles males have with each other and within the wider society,

Finding Now looks at the social and physical perspective associated with males and the way that males perform to fit into these roles. In looking at these challenges that accompany being male, Finding now asks the bigger philosophical question on how can we move on from this state of male anxiety, aggression, and fear of expression in order to embark on a journey into the making of a world of fluid change.

wundervogel/the spirit bird

Gemma hides her self in her room away from her Mum after being bullied at school. She finds a book that she has not read before and goes into her imaginery world were she meets a Spirit Birds that helps her to be brave enough to tell her mum whats wrong. 


When we are all caught up in ourselves and even forget what we started to argue about and just want to be right, sometimes what we become blinded to, can wake us up to see a better world.

witch way macbeth?

Based on the play Macbeth By William Shakespeare. Who or what is manipulating the manipulator. 

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