In a ballet for three "mothers" on a wasteland in Mannheim, Studio Urbanistan in BAGGERN asks the question of the place of parents in the (work) world. They clear away, they dig deep, they shovel away and layer anew. But who is actually cultivating whom or what here? Constructs of motherhood, moments of being overwhelmed, invisible care work, or struggles for compatibility and gender equality flit across the wasteland in original sound bites. What actually changes when you have children? The excavators stoically do their work, the "mothers" are allowed to scream out, unleash their anger with earthy force, be silent, sing.

In a ballet for three "mothers" on a wasteland in Mannheim, Studio Urbanistan in BAGGERN asks the question of the place of parents in the (work) world. They clear away, they dig deep, they shovel away and layer anew. But who is actually cultivating whom or what here? Constructs of motherhood, moments of being overwhelmed, invisible care work, or struggles for compatibility and gender equality flit across the wasteland in original sound bites. What actually changes when you have children? The excavators stoically do their work, the "mothers" are allowed to scream out, unleash their anger with earthy force, be silent, sing.

In a ballet for three "mothers" on a wasteland in Mannheim, Studio Urbanistan in BAGGERN asks the question of the place of parents in the (work) world. They clear away, they dig deep, they shovel away and layer anew. But who is actually cultivating whom or what here? Constructs of motherhood, moments of being overwhelmed, invisible care work, or struggles for compatibility and gender equality flit across the wasteland in original sound bites. What actually changes when you have children? The excavators stoically do their work, the "mothers" are allowed to scream out, unleash their anger with earthy force, be silent, sing.