The piece . G RITO, by the choreographer Piny, proposes a "de-limitation" of bodies, time and concepts. It reminds of the philosophy of Zen Buddhism, in how it understands the fragility of physical boundaries and language, proposing an empty space that seeks to destroy what substantially distinguishes the "me" from the "other".  

This ambiguity is evident early in the show, when an "X" is delineated with tape in the centre of the stage, mirroring the display of the fluorecent lights in the ceiling, exactly above it. This action also takes place when the audience is still sitting down, and starts, in this moment, to wonder why this rite is initiating like this. This cross is composed of lines of encounters, between different temporalities, creating dialogues of musical overlap between the galloping acoustic of cymbals and the human voice distorted by electronic music, or between Portuguese folk song and American hip-hop. In these paths, there are also different practices of the body: urban dances, Luso-African dances, vogue, farming and laundry practices, among others. The time of the scene is migratory, it travels different moments in history and different geographies, but only assumes these particular characteristics because it results of the intersection of 8 women who, together, create a community of henoteistic idolatry: exalting, recalling and reaffirming everyday figures, such as their grandmothers, great-grandmothers, mothers and sisters, always having the Women, as a major idol, as a multiple identity in (re)construction and manifesto.  

The repetition of the movement for the creation of rhythmic passages allows us to be aware of the time and a consequent dissolution of it; equals the pulses of the body, time and music to enter in a trance state where these dimensions are dilated, dissipated, but reappear. In this space of conflow, temporality is diluted and the body is shaped throughout these paths, but it is in the dissolution of the conceptual boundaries that the most pressing and liminal questions arise: Do the feminine and the masculine concepts dialogue more than are dissonant one from another? What period of time, past and future, make up our present? In a group, when movement ceases to be just mine and becomes collective? When screaming is most striking? When it is audible or when we are reminded of its constant silencing? 

. G RITO is not a shrill cry, it is a silent cry, it is broad in the way it opens through movement in space, in the body and face of the performers. This is a cry from the body that proudly affirms itself by what it is, with all the risks that may arise from it. At every glance, Piny embraces her interpreters, ensuring them a space of trust, for a historical rewrite of the place, the journey and the power of women. They reaffirm their place in a social space dominated by a patriarchal system, which forces them to this daily movement of redefinition. They recover almost anthropologically the sacred/festive dimension of constant gesture and movement, in repetition and variation, transporting us to diverse rituals, such as those of the Roman gallae or the first American vogue balls. Piny goes beyond the creation of a show that continues with the fictional dimension of theatrical dance. She shows us a community space for an honest meeting of identities and temporalities, creating a rite of exaltation of dance as a practice of the regular, intimate, erotic, political and transformative. 

. G RITO is more than a show, it is a community that dances to "de-limit" borders and to impose a place of power for Women.