Sweet Spot is the last part of a trilogy of works which includes the solo piece Batty Bwoy (2022) playing with the fictions surrounding the queer body and the group work Undersang (2024) that takes shape as a collective ritual in the forest. Together, these works plunge into how pleasure, excess, and monstrosity can become forces for empowerment and transformation.
Sweet Spot continues its exploration of the poetic and physical potentialities of collapse. Queerness and the body are approached as sites of revolt, ecstasy, and dissolution. Unleashed rhythms, folklore, and groovy processions accompany us as we question our perception of reality.
Lurking in the abyss, Sweet Spot conjures a distorted danse macabre within a hypnotic landscape, gathering six ecstatic figures who sing, crumble, and syncopate around one another.
Biography
Harald Beharie(he/they) is a Norwegian-Jamaican performer and choreographer based in Oslo, Norway.
Beharie’s practice and choreographies often emerge in the tension between the everyday and the extreme, the banal and the sacred, playing with transformation as a continuous principle, for both the body and the spaces they move through. At the core lies a desire to challenge how we sense reality. Their works explore how queerness and the body can act as a medium and a site for revolt, ecstasy, and dissolution
They hold a special interest for the DIY and the vulnerability of being in the unknown.
Beharie is interested in how the body can function as a motor for dramaturgy, a force in itself that transforms through practice. In his works Batty Bwoy and Undersang, they explore how pleasure, excess, and monstrosity can become forces for empowerment and transformation while using the body as a site of ambivalence.
Haralds work has received nominations for the Norwegian Critics prize for the performances ” Shine Utopians” with Louis Schou (2020) and the solo work Batty Bwoy (2022). In 2023 Batty Bwoy also won the Hedda prize for “best dance production” and in 2024 the project “Undersang” won the Norwegian Critics prize 23/24.
