In the piece Mourn Baby Mourn, Kater­ina Andreou’s primary mater­i­al is sad­ness and nos­tal­gia. The piece is a solo devised as a dis­tress sig­nal, a vir­u­lent attempt at escap­ing melancholy.

Greek cho­reo­graph­er Kater­ina Andreou’s reflec­tion starts with an intim­ate and col­lect­ive feel­ing of sad­ness and frus­tra­tion whose echoes res­on­ate across oth­er pieces – the texts and thoughts of philo­soph­er Mark Fish­er, who ana­lyzes our 21^st-cen­tury soci­ety through this wide­spread mel­an­choly, as well as “haunto­lo­gic­al” pop music, which is peopled with ghosts of the past. More than the exist­ence of these oth­er works, Andreou’s piece Mourn Baby Mourn is fueled by the choreographer’s dis­turb­ing acknow­ledge­ment that she sees per­haps too much of her­self in them. It is this intim­acy and per­son­al dead end that she intends to turn into mater­i­al to write, dance and pro­duce sound; to mourn in Eng­lish means to grieve and lament – a woman’s busi­ness, where the per­son­al and the col­lect­ive meet. With its pop title, Mourn Baby Mourn attempts to escape mel­an­choly through the great phys­ic­al expressiv­ity of Kater­ina Andreou’s move­ments, inspired by “ges­tures which com­bine strength and bore­dom, a strange com­bin­a­tion that is often found in pop culture.”