As radical as Helena Waldmann has probably no one ever thought the theme of dance and exploitation to end Made in Bangladesh explores the notorious sweatshops in the textile industry and the supposedly artistic legitimacy "sweatshop" of the ballroom-and finds more in common than our more established of culture can be dear. Because whether dancers or seamstress, they work at the expense of their health, fobbed off with low wages and constantly in danger of losing her job to a rival even younger, even more flexible. That Helena Waldmann does not leave it at the thought of playing the obvious parallels, goes without saying your documentary project led them in winter 2013/14 already to Dhaka. In the capital of Bangladesh, they presented-in an extensive casting process and advised by the Kathak expert Vikram Iyengar from Calcutta-an inspiring ensemble together: 12 savvy Kathak dancers. Even the purely physical demands of production are high. Because Helena Waldmann uses the complicated staccato dynamics of Kathak to reflect the merciless choreography of the chord sewing dancing. At the same time, the ensemble was fully involved in the content search with. Nazma Akter, the internationally best-known campaigner against exploitation in the textile industry, supported Waldmann's project and brought the performer in contact with workers. The results of these encounters of two otherwise completely separate worlds were incorporated into the choreography and extended the piece of multimedia in the form of film recordings and sound collages.