Created in a dreamlike atmosphere, the bodily world in Daughters focuses on the idea of urgency—or the urge to act. Taking on an experimental approach to roller skating and using the rollers to create a visual effect of a slowly floating body that moves at two different speeds simultaneously, the performance induces a state of tension in the psychic field. Augmented by the dark electronic music of Ukrainian composer Monocube, the movement is inspired by post-punk body rebellion, connecting the head bang, the sick groove, and the action of shouting to fragments of memories from the performers’ childhood.

The idea of a female body that belongs to a generation of mothers and grandmothers deeply influences our behaviour today and the way we perceive our own bodies. Daughters is a type of nostalgic story from the future, created with a highly instinctual approach, placing idiosyncratic gestures alongside powerful postures. Dislocating the action from the gesture, the meaning from the intention, and overlapping deeply personal text with random facts from recent history, the performance carries a hallucinatory cinematic mood. Following a process of exploring how editing changes the meaning of an action on film, in Daughters, the dance focuses on frames of movement that seem to be missing—traces of light that follow the trajectory of the body and stage actions that unfold in a time-lapse.

Enhancing the peculiar characteristic of the movement, the video—conceived by German visual artist M. Kardinal through analog technology—deconstructs the shapes, allowing the images to become distorted and blurred, grasping the fragile moment as both a constitutive and generative element of the environment. Daughters zooms in on the struggle to be heard as an individual in opposition to the idea of belonging. By placing the counter history above grand history, the performance rewires the timelines of past, future, and present through simple and minimal actions.