Migration is as old as the world, but is it fully understood? Most often we conceptualize it through words - positive or negative, voluntary or forced, invisible, flooding... It is a statistic, an emergency, a trend, a border control, it is above all something else than a natural human urge. The migrant is today's nomad, the settler, the discoverer, but also today's vagabond - the marginal, the wanderer, the idler, the brigand.

The Mozambican choreographer Idio Chichava shows migration through the prism of the body. To build the choreography, he draws inspiration from the dance ritual of the Makonde people living in Mozambique and neighbouring countries, and the concept of uniting the dancing and singing body of man into one global body.

According to Chichava, only the body that dances and sings at the same time can fully express itself and exist in synergy with others. The choreographer considers this global body a natural but forgotten human condition - and therefore charts a path on stage towards it. Convinced of the energetic connection between people and inspired by his cultural roots, the up-and-coming choreographer offers audiences a performance with a powerful energetic charge - as personal as it is universal.

VAGABUNDUS, his personal choreographic project, is a performance in which 13 dancers never stop dancing and singing old and current Mozambican songs, gospel and baroque motifs, revealing their souls. Showing that when we are together, we can exceed our potential. The explosive impact of dance and voices needs no sets, elaborate costumes and lighting effects to touch the audience. The only props are possessions and objects that each dancer keeps as a memento.

The ritual steps and movements break down into component parts to be reconnected in a narrative of life as a constant journey, of coming together and being together in a group, a collective, a community. This is why WAGABONT is not a collection, but a growing progression of dances imbued with origin, heritage and identity, and songs telling personal stories. It is the path to the global body - inside the sheath of flesh to that energetic charge that unleashes our full capacity.

Exploring the stage presence and expressiveness of the body, Chichava invites the viewer to find their global body again, their true self that celebrates life. For the choreographer, the emotional rather than the technical dimensions of dance are more important. Therefore, the beginning and end of the performance are open as the audience enters and leaves the hall. Like Migration, VAGABUNDUS has no precise beginning and end point.