einmal hin, einmal her

2321 Mal gesehen


Datum der Aufzeichnung: 09.06.2016

Ort: TQW / Studios

Im Rahmen von: Werkstück



Every season Werkstück provides a framework for young choreographers in which over a period of six months they will be supported in developing their choreographies with time, space and expertise. This year the new generation format will be mentored by the choreographer, dancer and visual artist Philipp Gehmacher with the question: What moves me?  Laura Unger, Evandro Pedroni and Jasmin Hoffer worked on their movens.


“There we had a house ball. Hardly anyone had any good clothes with them. The boys said: ‘Iron our shirts so we look proper!’ Because we had to do folk dancing. There was someone from the Volksoper who taught us dancing. But he selected the people. We had to line up at one side and he said, you, you, you, you. And there I was too.” (Josefa Unger) 


Einmal hin, einmal her is a lecture performance in which Laura Unger examines the different narratives of Austrian folk dance. It starts with the tales of her grandmother, Josefa Unger, about folk-dance appearances in the 1950s that offered her the opportunity to escape the rural village constrictions of the Waldviertel. In recorded interviews she talks about the group-dance performances, such as the seven step and the star polka. Sixty years later Laura Unger brings the same dances into the dance studio as living artefacts, where she confronts herself with their strange, almost exotic effect. At the same time the simple, repetitive choreographies combined with exhilarating music represent a welcome change from the contemporary deconstruction/analysis of dance and movement.


The Nazis, who utilised folk dance for propaganda purposes, were well aware of the effect of these dances on the audience. In post-war Austria, too, folk dances were used for the targeted strengthening of the nationalist consciousness and thereby reproduced the theory of Austria as a victim. At the same time, for Josefa Unger, however, her folk dancing activity was the only opportunity to emancipate herself from the home.


Laura Unger uses the format of the lecture performance as an artistic strategy to clear a way for herself through the complex and ambivalent web of physical, family and collective memories into the present day.











THANKS TO: Josefa Unger


Laura Unger grew up in Vienna. At the age of five she learned to play the violin, later she autodidactically experimented with guitar and accordion. After longer periods in Chile and Italy she studied Dance, Context and Choreography at HZT (UdK) in Berlin, Performing Arts at Bilgi University in Istanbul and dance studies at Salzburg University. After she had finished her BA degree in Berlin she returned to Vienna where she received a START scholarship from the Austrian Federal Chancellery (BKA). Currently she is researching on the potential of traditional dance as a form of resistance and plans to set up a platform for traditional dance and politics.




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