Aydin Teker «harS»
Harps are not considered “sexy.” Since Marie-Antoinette they are “feminine.” And became a preferred instrument for romantic (ballet-) composers. Astonishing to see a harp in contemporary choreography, especially if it’s cast as a “dancer.” However, that’s the idea of “harS.”
“harS” is a solo the Turkish choreographer Aydin Teker worked out for and with the female dancer Ayşe Orhon. Teker has a predilection for “impossible” objects.
In her former “Akabi,” she had her dancers perform on shoes with soles so high as to prevent them from dancing at all. This bred a quite particular body language. Something similar happens in “harS.”
At the start, the instrument lies down on the floor. It isn’t the regular type of harp, made of wood, but a much stronger piece made of polycarbonate. The reason for this choice will become evident. Orhon picks it up to put it upside down, with the broad resonator facing the public. Her body almost disappears behind the huge instrument. One only gets a glimpse of her broad, strong feet. Slowly she puts them forward, one by one, pushing the instrument ahead in front of her. Then she lets it go.
Suddenly, it seems as if the harp takes the lead ...