Reyalite n’ , which means “our reality” in Haitian Creole, is a choreographic duet that explores the relationship between two bodies rooted in a living cultural heritage, while questioning what is real, felt and shared in the moment of the dance.

At the start of the piece, movement draws on Haitian konpa, more precisely its groove, as choreographic material. The movement qualities of this dance — fluidity, grounding, the swaying of the hips, the continuity of rhythm — feed the choreographic writing. This influence is also found in the relationship between the two performers: a relationship of closeness, listening and dialogue, where touch, gaze and shared weight create a dynamic that is both gentle and assertive.

The piece thus becomes a space of permanent negotiation, between tradition and transformation. Through this dance, Reyalite n’ questions how bodies carry cultural memory and how it transforms in contact with the other. The relationship evolves, sometimes grows fragile, strengthens elsewhere, revealing tensions, surges of trust and moments of fusion.

Reyalite n’ is an inquiry into presence to the other and to oneself, a sensitive journey where dance becomes a language that shows the bond and the reality lived by two.

In this duet, Moses Olayinka Akintunde (Nigeria) and Danielo Belcher (Haiti) invite the audience to witness an encounter — not only between two bodies in motion, but between two continents shaped by shared histories, ruptures and shared resilience.

Rooted in their respective African lineages — one from the continent, the other from the diaspora — this piece becomes an intercultural crossroads. Through movement, the dancers explore how rhythm, resistance and identity cross oceans and generations, and how heritage feeds the projections of younger generations. It is a conversation made of gestures and silences, inherited memories and lived experiences.

Each dancer brings a singular point of view: Moses with the pulse of Lagos, in tune with contemporary Nigerian society; Danielo with the heritage of Haiti, born of revolution, of the first independent Black nation, and of survival. Together they exchange values, reveal cultural distinctions and shared heritage, while confronting their lived realities, their ruptures and their resilience. Subtly, they evoke social and liberation struggles, as well as perspectives towards a future yet to be built.

Their bodies speak of struggle and pride, of exile and return. A call emerges — to recognise the invisible threads that connect our stories, and to imagine new ways of standing, moving and rising — together.

This piece is not just a duet. It is a step towards a shared humanity.

The company’s first piece, Out/Side explores the identity of dancehall and its representations on stages and in institutions, where this culture remains little present and little known. The choreographer Mwendwa, in collaboration with Carl, infuses it with their cultural and social singularities to renew its forms while remaining faithful to its essence.

The title echoes the outside, that space where the two artists practised for a long time and where dancehall is lived to the fullest. Far from the limits of the studio and the mirror, dancing outdoors opens other paths to creativity: gestures are fed by the place, the elements and the people present.

From this attention to the environment comes an organic, incisive and inhabited dance, which renews the relationship to space and the gestural vocabulary of dancehall.

With Out/Side, this experience extends onto the stage. How can the energy of the outside be kept in an inside, framed space? The choreography makes the stage a place of encounter and sharing, crossed by human, everyday sensations that resonate in everyone.