Many artists worked from the edges of identity, exposing selfhood as something unstable, provisional, and in flux. Johana Malédon’s “Mâle” refused coherence in world-building, dancing a pas de deux with a LED screen in an intense work sustained by some powerful dancing. Nik Rajšek’s “Kink” explored desire as distortion, reshaping the same wavy movement again and again from different perspectives. Also Bast Hippocrate’s “Joyaux Lourdement Sous‑estimés” exposed undervalued gestures on a rotating platform, becoming violent or romantic depending on the perspective. Panos Malactos’s “No I’m Not” moved through pop gestures, while Forget‑me‑not’s Femme Physique from Iceland, invited a local choir to sing in a spa, and then enjoyed a liberating jump into the pool, putting exposure and body positivity under the spotlight. All while Francesca Santamaria’s “Good Vibes Only (beta test)” dissected Tiktok trends with surgical humour, revealing its quest for the “good vibes” as a choreography of denial. 

Hybrid languages dominated another section of the programme, where dance collided with theatre, sound art, scenography and speculation. Paula Rosolen’s “Noice|Noise” built an ecosystem where bodies responded to sonic interference rather than counts; while Annabel Koele’s “Magnitude” used a guitar as a physical trigger: each strum, vibration or weight shift pushed the performer’s body toward new thresholds of virtuosity and limitation, becoming an external nervous system, with sound choreographing flesh. Fabla Collective’s “Do Birds Dream of Flying?” hovered between imagination and physics, asking what flight feels like from the inside. A gentle piece where the performers oscillated between groundedness and lift, creating a choreography that felt like a thought experiment made physical.