The Who of Things uses the metaphor of anthropophagy – or subjective cannibalism – as a springboard for presenting the idea of ‘the other’ within us. They also practised cannibalism – they ate their enemies, their masters and the people they honoured, in order to preserve ‘the other’ in themselves. The Brazilian Indians regarded everything in the world as human: The stones, the trees, the sky and the rain existed for them as an embodiment of humanity. Fierce grows the steam and the life-feeding flame, till fire leaps high about heaven itself’ ( Voluspå) ‘The sun turns black, the earth sinks in the sea, the hot stars down from heaven are whirled. In Gjallarhorn, Habib uses Norwegian cultural heritage and the most powerful forces of nature as a starting point for her warning. Garborg used the ode to direct some tough socio-political criticism at the then power elite. The ode is written in the oldest style found in the Edda collection, and conjures up mobilisation and Ragnarok. In 1895, Arne Garborg wrote the ode Gumlemål as a central part of his collection of poetry Haugtussa. Inspired by seismic activity, Norse mythology, Arne Garborg’s Haugtussa, and group rituals, Mia Habib and the dancers of Carte Blanche explore the primaeval forces that are released when there are massive, fundamental upheavals in our physical existence.

The horn marks the start of Ragnarok, which is the destruction and renewal of the world, as related in the Norse mythology tale of Voluspå. Its vibrations carry into the worlds of the gods and men, and on into the underworld. When the Gjallarhorn sounds, it means danger is approaching, so everyone must wake up – even the gods. For this double production Carte Blanche has invited the choreographers Mia Habib and Marcelo Evelin, two exciting and adventurous personalities with a willingness to confront themselves and others, to challenge the opinions of others, and move into each other’s bodies. Glitter, savagery, spirit – and the collective spirit.

Download we are here together