In FOLK FICTION, we invent our own folklore. Refined and archaic, sassy and formal. We invent a collective identity as a wild mix of self-portrait and utopia, inspired by our stories, preferences and desires. With pomp and poetry, silliness and seriousness, always carried by the pounding groove of tap.

A collective identity is central these days. It defines who belongs and who doesn’t. It mobilizes masses and shapes society. It is freely invented, but radically effective. We want a say in that!

From a compositional view, FOLK FICTION is much more complex than our previous pieces: Each of us dances a different version of the choreography, but everything fits together into a moving mosaic, creating images of cohesion and division, group turmoil and ritual.

It was never planned like this, but all of us had to surpass our expectations of ourselves to dance FOLK FICTION and do something we never thought we could pull off. We almost failed. After the final rehearsals, we were all absolutely exhausted. The fact that we managed to succeed after all has made us so much stronger. Thanks to FOLK FICTION, we’ve really become a company. And so it turned out that dealing with collective identity actually created an identity.

Sebastian Weber SWDC 2020
A thought-provoking elemental force of dance – “All the bodies actually become instruments, in which the energy flows from the soles of the feet and the tips of the toes through all the limbs, right into the arms and the fingertips. It is precisely this energy that ultimately puts all and everything into irresistible motion.
Moments of rest, of concentration, in which all the dancers find each other in the dark or in a dimly lit space and become one large body, strengthen the dynamics of this elemental dance force that is set free moments later. It is this force that seems almost impossible to resist. Despite all the enthusiasm reflected in the long-lasting applause from the premiere audience, it is also thought-provoking. After all, elemental forces come in many forms, which in groups are more constructive, manipulative, and, above all, also more intricate. And precisely for this reason, they are more dangerous. The message behind Folk Fiction hits home.”

Rhein-Neckar Zeitung

A work that is convincing in its mere form of stormy immediacy. In a sequence of loosely linked dance sets, Weber and his dancers give their all until they are utterly spent. They come together to form large-scale living character formations that tap dance their way through the stage space with the concentrated force of rhythm machines. Or they merge under a cone of light, forming a nucleus, from the inside of which the clatter of the tap shoes emerges as an insistent beat.

Steffen Georgi, Leipziger Volkszeitung

10x 0 m
Stage size
0 Min
> 0
Recommended age


Andrea Alvergue
Helen Duffy
Janne Eraker
Vilma Kananen
Nikolai Kemeny
Samuel Vère
Sebastian Weber

Sebastian Weber + Company

Michela Pesce

Steffen Fuchs

Costume Design
Anna Spenn
in cooperation with the costume department of Theater Koblenz

Light Design
Thomas Knopp
Jakob Bauer

Composition and Musical Direction
Christoph Hillmann
Christian Grothe
Sebastian Weber

Gangbe Brass Band
Ernesto Aznarán
Antonio Vilchez
Andreas Dänel
Gregor Lener

Production Management
Josepha Vogel i
n cooperation with the artistic administration office of Theater Koblenz

Tom Dachs
Jörg Singer

Gesa Volland + Sebastian Weber GbR i
n cooperation with Theater Koblenz

Funded by
German Federal Cultural Foundation, Doppelpass Fund


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