Inspired by Caravaggio’s “Amor Vincit Omnia” (1602) and Mathieu Kassovitz’s film “La Haine” (1995), this new solo performance by Shibata reflects her studies in France and Israel. Shibata delves into Caravaggio’s enigmatic painting to provoke binary oppositions and challenge fixed ideas, while drawing parallels to Kassovitz’s film addressing immigration issues and the complexities of multicultural coexistence. She further explores contemporary themes of gender, identity, and religion. Incorporating a fresh perspective on movement acquired during her residency in France and with a blend of street dance and pantomiming, her choreography resonates with memories of intense citizen protests against authority that she witnessed in France and Israel. It’s a dance that engages the audience, prompting questions about the modern world.

In an era overflowing with music and dance that instantly captures the heart on social media, Ratsifandrihana deliberately delves into the essence of dance. Surrounded by the audience on all sides, this performance unfolds moment by moment in collaboration with two musicians specializing in electro and noise, lighting, and the relationship built with the audience. With top-notch skills in the contemporary dance realm, she draws inspiration from various sources, including her Madagascan roots and the traditional Afindrafindrao dance, the 1960s American dance The Madison—one of the first dances she learned—and a deep respect for France’s poppin’ dancer, Pepito. She weaves these influences from her personal history into society. As a single body builds rhythm from scratch, turning it into an astonishing array of landscapes, the space comes alive and pulses with energy—all converging towards one thing: “groove.”