Perhaps the absence of decoration, of the desire to give individuality to spaces through things, is a principle? Thus, reflecting on what actually constitutes one's identity can unfold more freely. Igor Sousa comes from Brazil and learned classical ballet at a Bolshoi school there. Paula Pau comes from Malaysia, where she has also engaged in traditional dance. The backgrounds could hardly be more different. At Folkwang, both had to learn dance in a completely different way and simultaneously develop their own artistic personalities.
They have used this starting position to think fundamentally about the concept of identity, reaching into the most intimate areas: Paula Pau now identifies as female, Igor Sousa takes the liberty to ignore any permanent gender designation. However, in their joint work "Imminent Arrival," the gender question is just one issue among others. They started the work with a highly energetic three-minute piece as part of a "Young Choreographers" evening at the Folkwang University. This was followed by a second stage version for the presentation at Tanzhaus NRW, which transitioned from pure dance to performative elements. Not only due to the pandemic did it then become an artificial and independent film for the Tanz-NRW-Festival. The state's "Let’s go" scholarship has also enabled them to make this shift to another medium.
"We deal with religion, spirituality, and queerness," says Igor Sousa. Brazilian, evangelical Christianity and Taoism: "Where is the place for queer people in our religions and biological families?" Sousa asks. Another topic is how the expectations and clichés of a western, open society affect people with such backgrounds. Surprisingly reflective, the two dancers discuss their work and their identities. At the same time, they always seem relaxed and approachable. Sensuality, humor, and self-irony – this also belongs to "Imminent Arrival." Both Sousa and Pau perfectly master the game with the – also erotic – expectations placed upon them. Aesthetically, they have rapidly freed themselves from the sometimes rigid corset of the Folkwang training.
In the film version of "Imminent Arrival," they had 3D animations programmed as an extension of their visual language. And then there is the music, which often gives their works a recognizability. "We are both very musical," says Igor Sousa, "at the beginning of each rehearsal, we sing." Sousa is also the one who produces and releases electronic music under the name "Andras_2020." He also produces the music for their pieces: "Paula also provides many ideas that I just implement with my know-how." At this point as well, the two dancers, who come from such different worlds, form a perfect artistic unity.
