Shifting the Silence develops as a research in motion, an open field where memory and presence collide. It starts from the body as a place of inscription, marked by exile, colonial heritage, and the fractures of displacement. How do bodies carry stories of violence and erasure, and how can dance reject these legacies by transforming vulnerability into revolt?
The research draws on multiple traditions of movement: dabke, with its communal strength and its challenge to fragmentation; ballet, with its vertical discipline and the weight of its European heritage; and contemporary dance, porous and refined, restless in its desire to dismantle and reconstruct form. These vocabularies do not harmonize, but clash, interrupt, and disturb each other, producing a choreography in which cultural submissions are both remembered and destabilized. Movement and music exist in reciprocity. The act of producing sound is choreographic, shaping the air into rhythm, while the choreographic act is musical, engraving time with embodied melodies. This intersection of disciplines creates a body that is both instrument and archive: a container of mourning, a witness to stories, and an impulse reaching toward imagined futures.