For us today, the waltz epitomises the Sissi dream and convention. However, at the beginning of the 19th century, the waltz was criticised and sometimes even banned because of its physical closeness and intimacy with the other body. It was believed that the dancers entered a state of intoxication that released impulses and made people uninhibited. The almost floating movement of the waltz, the relationship between the two dancers and the music create a kind of trance. Johanna explores the ambivalence of the view of the waltz in the past and today, where it tends to be associated with opera balls, the upper classes and wealth. In ‘valse, valse, valse’, the focus is on a contemporary rewriting of the waltz that exposes the historical potential for disorder.