“Hatching” is inspired by the metamorphosis of animals and especially by the act of molting – the manner in which an animal routinely casts off a part of its body. The crayfish need to molt as they grow because their hard exoskeletons do not allow room for expansion. When they climb out their old body, they are soft and vulnerable, but slowly they grow and rebuild a hard and protective shell before it’s time to molt again.
The research is based on the ever-changing of the queer and lesbian self. Through the exploration of wet clay, through the physicality of shaping it and the tactile sensation, we ask ourselves: when and how do we molt in our queerness? Can we molt collectively in a lesbian twosomeness? We extend, twist, shrink, spank, peel off, rebuild both our bodies and the clay.
Together with sound designer Neda Sanai, Cajsa Godée and Sepideh Khodarahmi create a multifaceted and captivating landscape of sound, bodies, and clay in constant movement.

CREATION & PERFORMANCE: Cajsa Godée, Sepideh Khodarahmi
SOUND DESIGN: Neda Sanai

Cajsa Godée is a dancer and choreographer based in Berlin and Stockholm. Cajsa is especially interested in exploring themes around sexuality from a queer and feminist perspective, challenging dominant gender norms and set conventions of the theatre space. Lately, Cajsa’s work has involved dancing with her parents, cake-sitting, public interventions, and voice explorations. Cajsa prefers to work in groups where many different experiences come together and converse. She started her dancing in the Swedish street dance community in 2007, where she became especially involved in the street dance style Locking, participating in battles together with different crews. Cajsa is a co-choreographer and performer in the dance and performance group JUCK (thrust) that works with expanding perspectives on femininity and gender through an intersectional feminist perspective. In 2019 Cajsa completed her Bachelor in Dance, Context, Choreography at HZT Berlin.

Sepideh Khodarahmi works within dance, drag, acting, performance, and mime. They are occupied with topics such as death, eroticism, rituals, witchcraft, religion, queerness, and power. They are moving between independent projects such as their cake-sitting collective Analkollaps and productions associated with institutions, for example, with Marina Abramovic Retrospective and “K” by Dimen Abdulla at The Stockholm City Theatre. Sepideh just did an exchange-year in Mime at Amsterdam School of Dance and Theatre and is now finishing their BA in acting at The Academy of Music and Drama in Gothenburg.

Neda Sanai is an Iranian Berlin-based artist born in 1985 in Sweden. Their practice moves through a hybrid of mediums such as audio, video, performance, and sculpture. Usually canalized through the idea of the collective work and the community as a starting point, Sanai aims in their work to dissemble the “I” – as in one person and the idea of “One” – as in one person to a “We” – as in understanding.