"The future is plural. In art as in the world." This polyphony resonates in the performances that make up the GUIdance 2024 festival, featuring creators who bring different shades to the eloquence of the body. In this edition, the spotlight is on Africa – as evidenced by the very distinct approaches of the performances "Bantu" by Victor Hugo Pontes, "Time and Space: The Marrabenta Solos" by Panaibra Canda, "Boca Fala Tropa" by Gio Lourenço, and ".G Rito" by Piny. There is also a focus on Asia, with particular attention to Taiwan, featuring the presentations "Beings" by Shimmering Production and "bulabulay mun?" by Tjimur Dance Theatre.

However, there is much more—a plurality of visions of being, identities, bodies, muscular and sensitive experiences that express an inspiring pulse of a world where utopias have already been realized beyond normativity, commonplaces, and the reducing logic of Western capitalist thought and knowledge. These dances and these people with their dances bring dream to living reality. In other words, we remain here, in this territory where radicalism, oppression, war, inequalities, and the climate crisis exist. It is here and now that these creations inhabit. But we are not condemned to stay in this here and this place. It is up to each person to participate in change.

The more Eurocentric presence in this program, marking Wayne McGregor's return to GUIdance with "UniVerse: A Dark Crystal Odyssey," is an example of this. It speaks of a planet on the brink of extinction, facing the dramatic climate and humanitarian crisis. Between documentary and fiction, it creates a new eco-mythology. In these conversations, as in the performances, we touch intimately on the possibility of summoning other knowledge to collectively open the possibility of building another strange way of living. Fairer, more ecological, and more loving. Because: The future is plural. In art as in the world.