Each in its own way, these performances deal with what is just beyond our grasp. They are therefore shaped by the elusive stuff of dreams : repetition, failure, fantasy,… Feisty figures emerge from this oneiric fabric ; they playfully corral, warp, and reinvent movements, sounds, and images, constituting effervescent worlds.

Bouncing, Violet Savage

Bouncing is a piece about the dancer’s experience of practising alone. A performer skips centre stage in a neon yellow dress. Are they a figure of fitness or fun, keeping time or keeping up, in control or going mad, watching or being watched? The sound of their performance is amplified and recorded using contact mics on the floor. When they trip, their past attempt is played into the present. Repetition of this process creates a space, between presence and memory, into which to disappear.

Developed from an original performance staged in collaboration with Ivory Pijin at Chisenhale Dance Space, London, August 2025

In collaboration with Oscar Alvarez.
Costume: A Letter 

QUIXOTE_A ROSE IS NOT A ROSE by Industria Indipendente and Annamaria Ajmone

QUIXOTE_A ROSE IS NOT A ROSE is a textual, sonic, and choreographic score conceived with and alongside Annamaria Ajmone, a dancer and choreographer with whom the collective Industria Indipendente has been collaborating since 2019.

The guiding figure of the performance is an ultra-feminine knight : a Don Quixote of the future, moving through the impossible in search of meaning and vision. She does not fight—she imagines and transfigures.

“Roses are defense systems disguised as ornament. Thorns are their first language, the minimal grammar of refusal. They are not an aesthetic detail: they are a nervous architecture. Each thorn is a small barrier that organizes the space around the stem, establishing a minimum safety distance between the vegetal body and whatever attempts to appropriate it. The delicacy of the flower exists only because the rest of the plant has delegated to the thorn the task of saying no. The thorn does not only protect the rose from the world; it also protects the gesture of the one who touches it, correcting the way the world reads it. It imposes a slowed syntax of contact. The wound it inflicts is a punctuation mark on the body of the one who handles it. 

From a botanical point of view, the thorn is a deformation; from the point of view of language, it is a deviation of the line, a word that slips out of the margin and decides to become a weapon.

It is not a superfluous addition, but the very condition that allows the flower to survive long enough to open. In a broader perspective, roses show that self-protection is a matter of grammar as much as of botany. The hardness of the stem, the order of the thorns, the silent resistance of the plant are the invisible structure that sustains the ephemeral gesture of blooming. Whoever looks only at the color of the petal and ignores the thorn sees only half the rose, and above all misunderstands its nature. One could say that every rose advances a simple botanical thesis: what attracts must also be able to defend itself. 

The thorn is the fine print beneath every flowering.  Let only force be what remains in words and fury.” INDUSTRIA INDIPENDENTE

Credits
By Industria Indipendente
In collaboration with and with Annamaria Ajmone
Voice: Silvia Calderoni
A production by Industria Indipendente and L’Altra Associazione
With the support of BASE (Milan) and Angelo Mai (Rome)