Thjerza Balaj
New Sh*t Vol. 6

International edition of New Sh*t curated by Thjerza Balaj

As a rider taming a wild horse, Courtney May Robertson looks at the struggle between embracing one’s desires and regulating behaviour in accordance with societal pressures. In a quartet by Andreas Hannes the magnetism and binding between bodies and space intensifies and creates a tantalising atmosphere for an otherworldly dance. In a solo, Alexandre Fandard rehabilitates “the youth from the suburbs” as a symbol. Gergő D. Farkas investigates the collapsing borders between the living and the inorganic, the existing and the unreal by approaching the body as an apparatus driven by impulses and emotions.

We are excited to present these four selected performances of younger choreographers with origins in Scotland, France, Greece and Hungary. The artists are in the top twenty in Europa right now as part of the most promising emerging choreographers by the European network Aerowaves The Twenty22. 

The evening program

the pleasure of stepping off a horse when it’s moving at full speedCourtney May Robertson

Comme un symbole / Alexandre Fandard                                                                                      

Deep Fake / Gergő D. Farkas                                                                                                    

Warping Soul / Andreas Hannes

Party / After the performances we invite you to a festive hangout with DJ Nah Care and open bar. DJ Nah Care´s music draws inspiration from his Kurdish roots and the electronic scene from club edits to fast paced techno.

The performances and artists

the pleasure of stepping off a horse when it’s moving at full speed / Courtney May Robertson 

As a starting point for this short solo, Courtney takes a metaphor for self-control; a rider taming a wild horse. She looks at the struggle between embracing one’s desires, and regulating behavior in accordance with societal pressures. Visual projections encapsulate Courtney within an octagon. Through a combination of poetry, dance, and song, she travels across landscapes of personal desires, memories, and conflicts. The space acts like a time capsule; intimate home videos are spliced with samples from YouTube, documentaries, and old films. the pleasure of stepping off a horse when it’s moving at full speed is Courtney’s attempt to embrace the, sometimes messy, contradictions that make up a multifaceted human.

Courtney May Robertson is a Scottish performer based in Rotterdam. Upon graduating in 2013, she joined Club Guy & Roni’s Poetic Disasters Club and has since performed extensively across Europe in the work of Jan Martens, Connor Schumacher and Florentina Holzinger, amongst others. She began creating her own small-scale / DIY produced performances in 2015. As of 2020, she is an ‘artist in residence’ at ICK Artist Space in Amsterdam. As a trained dancer Courtney’s work starts with the body, but spans various disciplines including video, generative art and writing. Recurring topics in her work revolve around a widely spread phenomenon she has defined as ‘the relentless desire to dominate’. courtneymayrobertson

Comme un symbole / Alexandre Fandard

Alexandre Fandard takes on the image of a young man from the urban margins; his postures and the fear he arouses. In turn barbaric, riffraff, potential terrorist and eternal stranger, the “youth from the suburbs” is often a masculine figure, despised, adulated, sacrificed or eroticised. Alexandre Fandard’s creations as a visual artist and choreographer never remain fixated in one form and bring to the stage all these rock-solid archetypes. In this new research in solo, he rehabilitates the youth from the suburbs as a symbol. The dancer wears the French flat on his jacket and uses this symbol as an attempt to redeem this figure while transforming himself into a national product in its own right. 

Alexandre Fandard is a French visual artist and choreographer who always seeks new ways to express himself. His choreographic writing stems from the need to portray what is not said with words. After a brief stint at the International Dance Academy of Paris, he started performing works directed by Brett Bailey such as Exhibit b for three years consecutively, while continuing his work as a painter. This experience reinforced his taste and his desire to see space, movement and dance through a radical pictorial perspective, where the image speaks as much as the body.

Deep Fake / Gergő D. Farkas

Deep Fake is a series of events which speculate upon copy, and inauthenticity and investigates new possibilities of coexistence. 

The piece challenges the monocracy of the solo by gently directing the spectator’s attention to the decentralized performance of sound, light, and object, turning the space into a living and breathing entity. By approaching the body as an apparatus driven by impulses and emotions, Deep Fake investigates the collapsing borders between the living and the inorganic, the existing and the unreal, with the structures that secretly (re)produce these binaries. 

In Deep Fake, the performer is accompanied by composer Márton Csernovszky’s sweet yet eerie, sensitive yet expansive music, and by a tender object called Grid. 

As the lovechild of cross-disciplinary aspirations and millennial greed, Deep Fake extends its invisible tentacles from the stage to the interwebs and takes over the two-euro domain to become virtual and remain virtually immortal. 

Gergő D. Farkas (they/them) is a choreographer and dancer currently based in Stockholm and Budapest. Gergő choreographs spaces where (non-)humans and (in)corporeal are equally super welcome to dance. Sometimes (actually, quite often), Gergő relates to dance as a hyper object. 

Currently, they are a resident artist of Performing Gender and tour their piece Deep Fake as a part of the Aerowaves Twenty22 selection. 

Warping Soul / Andreas Hannes

The dancers emerge within a space that is constantly in transit. At the mercy of external forces, they move within movement. Through the disorientation and reorganisation of bodies and space, Andreas Hannes explores the dynamics of bouncing and warping*. By questioning the body’s agency, he aims to intensify the magnetism and binding between bodies and space to create a tantalising atmosphere for an otherworldly dance. ‘Warping Soul’ was inspired by the practice of continuous skipping (as in skipping down the street) that Andreas Hannes has been developing since 2017. Key elements of his practice were road-trips, transiting landscapes and aerodynamic forces. *warp: to bend or turn from the (original) direction or course

Andreas Hannes is an Greek eclectic maker who explores gravity and aerodynamic forces. He uses rhythm and vibration as a source for informing and revealing the body within environments. Growing up in a musical environment, Andreas Hannes danced extensively in the living room. After completing his studies in classical percussion at the University of Macedonia in Thessaloniki (Greece), he moved to the Netherlands to follow his passion for film. He worked as an independent director and producer of short films and he co-founded Small House Productions (2011-2015). In 2018, Andreas graduated from School for New Dance Development with the performance The City. Andreas Hannes summarises his artistic work under the notion of relational, physical and metaphysical distance. He investigates by playing with the proximities and tensions between bodies, traditions and disciplines which, at first glance, might not be considered relevant or engaging. The spectacle, entertainment, science fiction and time tenses fuel his creative force, with all the social and political implications they bring along.

The Guest Curator of New Sh*t Vol. 6

For each edition of New Sh*t, a younger guest curator is invited to put together a progressive program of choreographers whom the curator believes to be the artists of tomorrow!  The curator for Vol. 6 is the Copenhagen-based Thjerza Balaj (She/Her). She is a Norwegian / Kosovo-Albanian multi-hyphenate artist, working with performance, fashion design, and film. Immediacy and intimacy are important elements in her works. Her choreographic practice deals with the female gaze, power dynamics and the uncanny. Playing with shifting intensities is a consistent approach in her seemingly hard-core yet ephemeral practice. Thjerza lives and works in Copenhagen, Denmark.  

About the platform New Sh*t

With the recurring format New Sh*t, Dansehallerne checks in with what’s new in the choreographic landscape in Denmark. 
Since New Sh*t was launched in 2020 the popular platform has been happening twice yearly. This is the first edition where we invite international choreographers for the platform.

Photo: Warping Soul by Andreas Hannes, photographer Floyd Renton


Thjerza Balaj


New Sh*t Vol. 6




24.3.2023, 20:00


2 hours 20 minutes


Dansekapellet, Bispebjerg Torv 1, 2400 København


The artists are presented in the framework of Aerowaves, co-funded by the European Union. // CREDITS FOR the pleasure of stepping off a horse when it’s moving at full speed: Choreography, performance & visuals: Courtney May Robertson / Dramaturgy: Merel Heering / Outside eye: Kristin de Groot & Yoko Ono Haveman / Technical support: Edwin van Steenbergen / Trailer & Video registration: Paul Sixta / Press photos: Anna van Kooij / Music: AAR - A01 & A02, Empty Set - Order, Cities Aviv - Title Piece, Death Grips - Disappointed / Produced by: Dansateliers Rotterdam / Financially supported by: Municipality of Rotterdam & Kickstart Cultuurfond / With thanks to: Bas de Geus, Adam Peterson & Nik Rajšek // CREDITS FOR WARPING SOUL: Choreography: Andreas Hannes / Performers: Beatrice Cardone, Adam Khazhmuradov, Laura Moura Costa, Alberto Albanese / Music Mix: Gary Shepherd (DJ Streamer) / Song: Soul by Rival Consoles feat. Peter Broderick – Courtesy of Erased Tapes / Lights: Marcel Slagter / Advice: Kristin de Groot / Photos: Floyd Renton / WARPING SOUL was made possible and originally produced by Conny Janssen Danst & Dansateliers, Rotterdam, The Netherlands / Commissioned dancers by Conny Janssen Danst / Supported by ICK Dans Amsterdam & Small House Productions / With the involvement of and gratitude to: Bruno Listopad, Antonia Steffens, Charlie Laban Trier, Elisa Zuppini, Sigrid Stigsdatter Mathiassen, Paulina Prokop. // CREDITS FOR COMME UN SYMBOLE: Choreography and performance: Alexandre Fandard / Staging and sound creation: Alexandre Fandard / Lightning design: Chloé Seiller / Soundscape: Rodrig De Sa / Photos: Cie Al-Fa / Production: Cie Al-Fa / Coproduction: Centquatre ( Paris), L’Étoile du Nord (Paris), La Passerelle - scène nationale de St-Brieuc, La Briqueterie -CDCN, Les Hivernales - CDCN (Avignon), L’Espace 1789 (Paris), La Villette (Paris), Danses à tour les étages (Tremplin), Sept Cent Quatre Vingt Trois/Cie 29x27, Festival Hip Opsession - Pick Up production, Karukera Ballet, DRAC 2021 ( Aide au projet ). / Support: Théâtre de Vanves, Festival TRENTE TRENTE, Festival Fabbrica Europa and Collectif 12. // CREDITS FOR DEEP FAKE: Choreography & performance: Gergő D. Farkas / Assistance and art direction: Endre Cserna / Music: Márton Csernovszky / Lights: Kata Dézsi / Advice: Imre Vass / Video: Gergely Ofner / Web design: Dániel Kophelyi / Financial support: The National Cultural Fund of Hungary’s “Imre Zoltán Program” / Financial management: Sín Arts Center / Thanks to: Sín Arts Center, Workshop Foundation

Trailer / New Sh*t Vol. 6
Warping Soul by Andreas Hannes
the pleasure of stepping off a horse when it´s moving at full speed by Courtney May Robertson
Comme un symbole by Alexandre Fandard
Deep Fake by Gergő D. Farkas
Aerowaves (en)
Creative Europe