Jakobe: “Bher<\/em>\u2014also the root word for \u2018to carry\u2019\u2014is a quest for self-determination. The protagonist swings back and forth between rigid order on one side and undefined chaos on the other. The starting point is rigid order. After breaking free from it, she discovers that chaos, too, has its limitations. Ultimately, she ends up somewhere in the middle: the space between order and chaos where self-determination proves possible.” <\/p>\n Photo: Ren\u00e9e Cuylaerts<\/p><\/div> \u201cHair suspension plays a central role in this. The pendulum is our protagonist, who moves beneath a fixed point above the stage via hair suspension. Other disciplines featured include spoken word\u2014poetry, spoken word, storytelling\u2014dance, and partner acrobatics.\u201d<\/p>\n 2. What exactly did you work on during the residency week at the Oude Badhuis?<\/strong><\/p>\n “We focused on the interplay between the various disciplines and created a \u2018backbone\u2019 for our performance. Hair suspension, spoken word, dance\/partnering, and juggling all bring their own unique dynamics. During the residency week, we harmonized those different dynamics and aligned them with the story we want to tell with Bher<\/em>. We got to know each other on stage and worked toward a first performance at the end of the week.” <\/p><\/p>\n \u201cHair hanging connects you with your body in a different way. Your whole body is screaming, \u2018Don’t do this!\u2019\u201d<\/p>\n\t<\/div>\n<\/section><\/p>\n 3. What is it like to delve into hair hanging for this performance\u2014a technique that is relatively new to you?<\/strong><\/p>\n \u201cSince I do physical work, the circus techniques have to align with the story we want to tell. Hair hanging offers us a direct link to the essence of our story. It\u2019s indeed completely different from partner acrobatics and juggling, where you repeat a movement hundreds of times to master it.\u201d<\/p>\n<\/p>\n Photo: Ren\u00e9e Cuylaerts<\/p><\/div> “Hair hanging connects you with your body in a different way. It starts with the ritual of tying the hair, which guarantees your safety. And then there\u2019s the direct connection with your own nervous system. Your whole body screams, \u2018Don\u2019t do this!\u2019 Through breathing and a physical search for weightlessness using rotational techniques, you can release that tension and reach a state of ecstasy\u2014a very special feeling. I immersed myself in the technique through an internship at Haareket\/moved by matter and also received close coaching from Oona De Cleyn, an aerial\/hair-hanging artist with a background in the dance world.”<\/p>\n \u201cI\u2019m trained as a partner and floor acrobat. I\u2019m used to creating with bodies and from the floor. By delving into this technique, I want to be able to look up, along with the audience.\u201d<\/p>\n 4. How does this technique influence your artistic creative process?<\/strong><\/p>\n \u201cThat impact is decisive on both a technical and artistic level. The possibilities and limitations of the hair-suspension technique have a significant influence on how the piece unfolds.\u201d<\/p>\n Photo: Ren\u00e9e Cuylaerts<\/p><\/div> “The high technical requirements mean we can\u2019t just set up and perform anywhere. We need mounting points above our stage that can withstand heavy point loads. We also need a stage large enough to ensure a sufficient range of motion. Plus, a sturdy anchor point on a heavy counterweight and a truss that allows for partnering via counter-rigging. Learning to work with all these requirements has had a significant\u2014educational and deepening\u2014impact on our creative process.”<\/p>\n![\"Ell](\"https:\/\/ecdf.be\/wp-content\/uploads\/2026\/03\/DSC_0123-1024x683.jpg\")
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