Narration, the physical and mental body, resonance or the voices that become words, speech and words, none of these ever manifest themselves completely or directly in an accessible way. You have to seek them out with intuition, lucid effort, determined to invent an expression of the self.
An affirmation of character that breaks free of the absolutes of reality, designing motifs that are never detected or organised according to the hierarchy of efficiency and the superiority of movement and synthesis. These are diagrams, impressions in style and structure, in shapes, in a range of recorded narratives.

Finally, they are collective characters, not mere individuals, with their minds cleared of archaic shared fantasies. These are states inspired by the syntax of inference and syllogism, the syntax of the body and the dialectic spirit that finds its focus in the language of human beings, the only ones capable of doing this while generating thoughtful and metaphorical images.
We shall question the homogeneity of evolution and linear coherence. We’ll need a formal spiritual act. An act of poetry. We’ll have to choose a conceptual formula of the historic, social and psychological essence of humankind. The aim is a fascinating corollary of formal and speculative perspectives, in which the neo-ritualism of a new ethnography exists in a contemporary dance that is also “new”: as if dance existed in the context of hunting, war, courtship, the reverence of ancient times. Dance as a profoundly serious and important act of symbolic communication. A sacred act. A totally whold-hearted act.
Dance is the most universal movement, and in it humans are all movement (Kerenyi). Thanks to dance the gods can appear. Dance, contemporary dance, unites gods and men at one and the same time.