Choreography and Performance Canan Yücel Pekiçten
Lighting Designer and Singer Ayşe Sedef Ayter
Music Sırma Öztaş
Photograph & Video Serhat Koç 

“Born Criminal" is a theory brought forward in the 18th century by Italian criminologist Cesare Lombroso. Lombroso's theory suggested that criminals are distinguished from noncriminals by multiple physical anomalies. Lombroso stated that the "Born Criminal" could be anatomically identified by such items as a sloping forehead, ears of unusual size, asymmetry of the face, excessive length of arms, asymmetry of the cranium, dark skin and other "physical stigmata". Although “Born Criminal” is a theory remained in the past and considered as a ridiculous idea, unfortunately today such judgments still exist. Today, still ethnicity, gender and physical properties lead to discrimination. As a consequence, immigrants, ethnic minorities, foreign workers, refugees and generally groups determined as “strangers” for the community are considered as potential criminals.

For short trailer plese visit this link. 


A video project to be

performed live soon. 

To watch the video

please visit this link.

Photographs by Murat Dürüm

What may be the thoughts of others,
And of others the feelings?
Do not others encounter,
Bear within their hearts the trouble,
Blackest trouble rests upon me,
Black as coal my heart within me,

Coal-black trouble weighs upon me.


Choreography  and Performance Canan Yücel Pekiçten

Sound Design Etem Kaplan

Photographs Soetkin Verstegen

Supported by Kone Foundation, Finland

"Der Zwerg / The Dwarf", is inspired by the Schubert's song called “Der Zwerg, D.771” and the novel of Pär Lagerkvist called “Dvärgen”(The Dwarf). The song makes the story out of the impossibility of the love affair between the Queen and “her dwarf” in a grotesque way. What does this grotesque and demonic poem tells? "Der Zwerg / The Dwarf", is an expression of desires of an evil dwarf who sticks up its head from the darkness and depths of the souls. Queen and specified in the song with a possessive pronoun, “her dwarf" comes into existence in the same body.
“I have noticed that sometimes I frighten people; what they really fear is themselves. They think it is I who scare them, but it is the dwarf within them, the ape-faced manlike being who sticks up its head from the depths of their souls.” Pär Lagerkvist

*Der Zwerg/ The Dwarf solo is awarded for the first prize in Gdansk Solo Dance Contest in Poland.


I’m too black to be a Nordic beauty
My coal-black eyes see what it should be
I’m too hairy and scary to be a Nordic beauty
My coal-black eyebrow is attaching the other daily
I’m too oriental to be Nordic beauty
My coal-black head is the blackest trouble upon me
Black as coal the words hurts the coal-black heart within me.


Concept, Choreography & Performance: Canan Yücel Pekiçten
Sound Design: Etem Kaplan
Video Design: Metin Çavuş
Light Design: Utku Kara 
Camera: Canan Yücel Pekiçten, Soetkin Verstegen
Thanks to: Kone Foundation, The Swedish Arts Grants Committee, MSGSÜ
Lasts app. 40’; no intermission.

Contemporary dance artist Canan Yücel Pekiçten opens for the audience the doors of three women’s hearts as she brings her unconventional take on three female characters from three different operas to the stage. The Queen of Der Zwerg Lied, Cio-Cio-San of Madame Butterfly, and the title character from the first opera written in Finnish, Pohjan Neito, are given new life through her female-centric performance. With these three solo pieces, we will witness the metamorphosis of three female characters that were created by a sexist point of view.



Choreography  and Performance Canan Yücel Pekiçten
Music Franz Schubert, Der Zwerg D. 771

Photographs Harun Ozkara and Pawel Wyszomirski


Choreography and Performance Canan Yücel Pekiçten
Lighting Design Ayşe Sedef Ayter
Music Sırma Öztaş
Dramaturgical Support Damla Ekin Tokel
Photograph Gülfem Erdoğan, Ali Güler and Goodlife Photography
Lasts 30'; no intermission.

Are you performing or moving forward in a full performance

while determining the performance of the performance

according to performance evaluation systems and

expectation indexes? OR if you are tired of the dualities of

daily life, which causes you to be torn between positive and

negative extremes, and of efficiency measurements of acts

and efforts, then join the movement of It’s OK!

for the right to become a regular person: Just say

“This is a performance” and enjoy defying measurements.

“It’s OK!” premiered in IKSV 19th İstanbul Theatre Festival.

During 2014-2015 season performed in Istanbul

and lastly performed in Arts Printing House Vilnius Lithuania.

For short trailer plese visit this link. 


Choreography and Performance Canan Yücel Pekiçten
Dramaturgical Support Damla Ekin Tokel
Photograph Anna van Kooij

Could you endure guiding dichotomies of the social?

AND, how? My Motto is a search for the way out of tabloid

‘either ... or ...’ deadlock guide ways of mottos frequenting

in our daily lives. Is it possible to find an in-between of all OR none pills we are made to swallow? Is there a “... and ...” way of living? My Motto pursues the answer from very much inside of the vocabulary of dance and craves movement to be a solution following “head AND tail”. Mottoes, referring to popular idioms of quotidian life, are held as the reduplications made up of positive and negative extremes pressuring life into double binds. As a result, whenever one is not the best, independent of lack of her intention to be, one falls deep into negative end of the dichotomy. “Herro or Merro”, “either you rise clouds of dust or swallow the dust”, “second one is the first loser”... As losers, as swallowers of the dust, as nothings more than the worst, is it still possible to move in defiance of one’s inescapable doom? One might move very well or might NOT... However, solely by moving she could claim for “right to be mediocre” and could even exercise it. My Motto is this cry for the right of being mediocre in movement; a movement that resist any ideal beyond itself, beyond moving in connection with “head and tail”.

“My Motto” premiered in EIM Utrecht Spring Dance Festival in The Netherlands and performed in “Görün Performance Nights” in İstanbul.

 For the full video of the performance visit this link.


Choreography Canan Yücel Pekiçten

Performance Canan Yücel Pekiçten and Cansu Ergin

With the Support Prof. Aydın Teker

The piece consists of recreation Kitri Variation Act 3 Scene of Marius Petipa’s Don Quixote with the image of deconstructing Kitri’s body. Kitri is a charming lady character in Don Quixote ballet likewise smiling every step, jumping and having fun in each moment. During the piece by using the element of repetition Kitri’s dance, character and her body is being transformed. At the end whole Kitri is being deconstructed till there will remain nothing about Kitri.

“Deconstructing Kitri” performed as work in progress in İstanbul MSGSÜ Bomonti Şebnem Selışık Aksan Stage.


Director Serhat, McKrees, Koç & Canan Yücel Pekiçten
Choreography and Performance Canan Yücel Pekiçten

Photography Serhat, McKrees, Koç
Camera Serhat, McKrees, Koç

This project is not created for a didactic purpose.
It is not created to highlight the beauty of the city.
It is not dramatic, hysterical and militaristic.
We are just so bored of conspiracy theories that we think they exist, games that we think played upon us, total of all these complicated thoughts and the total forms of this anxious state of being ...
In fact, everything is simpler.
It should be.

Shown in Dance Camera İstanbul Film Festival. To watch the video please visit this link.

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