Unity engenders community.  By virtue of a forest of arms, Guilherme Botelho explores the notion of collectiveness that governs the life of termites, but which is absent from the preoccupations of man.  This second episode of his Distância trilogy confirms the clear existential turn his work has taken.  One is even tempted to say essentialist turn, given the conviction pegged to his heart that nothing is lost, nothing is created, but everything is transformed. Such, then, is the intent of this choreography whose title spells out its theme: Iyouhesheitweyouthey (Jetuilnousvousils).

The group, as well as the interactions that flow through it, are drawn to our attention. The sum total of singularities which sometimes cancel each other out, every dancer reveals his score around simple, distinct forms, held together by a strong collective will, supple and precise.

One is reminded of the sinuous movement of a school of fish slicing through the depths of the water, or a swarm of birds, or the swell of the ocean, the discovery of those immense waves sometimes called billows. Botelho delves into the biology and the instinct of composite bodies. The title of this piece evokes the transition from unity to plurality.

Iyouhesheitweyouthey is worrisome: when humanity sinks, what gestures lift it up and console it from the coming darkness?