Like a tableau vivant bursting to vibrant life, the exceptional Brazilian company’s work, created by Ivor Gasparini, is relentless and shapeshifting. Their movement is flawless. Wearing colourful nineties style crop tops and cargo pants, the cast explores freestyle and mass choreography alike, together. 

Thematically, the concept of the individual self versus interdependent groups of people, with all ultimately joining together to create a better world, may be well-explored terrain within contemporary choreography, and it's a little on the nose, but it's all done with so much verve and passion that it's futile to resist. 

Their dynamism is infectious; their athleticism, jawdropping. The idea of pushback at this time of late capitalism, the rise of the oligarchy and corporate greed can only be admired. Indeed, the piece shares a title with a book by Bernadine Maria Hernandez exploring relations and socioeconomic issues between the USA and Mexico. Human resilience in the face of  war and encroaching AI ubiquity is a nice, very welcome antidote.

So the twitch becomes a shoulder shrug, which becomes a krump, or a glide, or a Nijinskyesque leap. There's a nod to queer ballroom culture with waacking. The troupe are throwing shapes like club kids on the dancefloor, full of ecstatic, wild abandon. All get to have their moment under the spotlight individually, and this creates interesting little vignettes within the performance. We're confronted by bodies of many shapes, genders and colours and it's a glorious thing: as outside the festival, so inside: a multifaceted celebration of humanity.