Which canon of theatre and dance do we trust? And to which social norms and values do we connect it? Choreographer Ligia Lewis searches for aesthetic possibilities of maintaining a black position within a white dominated canon. “Water Will (in Melody)” (2018), for example, which is dense with Western myths and cultural-historical references, makes well-established interpretive approaches seem rather hollow. Starting out from melodrama, the piece tangibly spins a dystopian fantasy and allows the audience to drift off into disorientation. In addition to Lewis’s most recent work, HAU is also presenting two further revivals by the artist: “Sorrow Swag” (2014) uses texts and images from 20th century classical theatre to question concepts of race, authorship, gender and mourning. And “minor matter” (2016) instigates a deadly puzzle game between “white” and “black” dance knowledge. Maurice Béjart’s ballet “Bolero” here culminates in an Afro-American step dance and the death drop of voguing meets the head-banging of death metal.