How do you do that, literally dance a dance language? Can a stage be like a page? Letters 2 Dance is an organised misunderstanding of a worn-out metaphor: choreography as dance writing starting with the smallest element, the alphabet

Vera Tussing invites the string quartet Quatuor MP4 to join four dancers onstage for a playful encounter between movement and sound. The four musicians play passages from various quartets by Franz Schubert, Anton Dvorak and Florence Price as well as contemporary works by Georg Friedrich Haas and Caroline Shaw. At the point where the orbits of dance and music intersect, you are invited to enter the kaleidoscopic score. Lend a hand, or an arm!

You see writhing bodies in a desolate landscape, hands and a head moving to the rhythm of an explosive drum solo, and a playful duet in which two women take control of the spectator's gaze. Meg Stuart creates an evening in which four dancers perform existing solos and duets, combined with fragments from full-length performances. All to live music. An excellent opportunity to journey through Stuart's oeuvre, which continues to grow, live and transform.

How do you translate the intensity, complexity and physicality of a piece of music into dance? For her new creation Duet for Two String Trios, Claire Croizé teams up with the Goeyvaerts String Trio, looking for answers to these questions through two string trios by the contemporary composer Charles Wuorinen. Dancers Emmi Väisänen and Jason Respilieux offer their bodies as a counterweight to this auditory onslaught. Music and dance circle each other in a play that is as dynamic and changeable as the string trios themselves: never a piece-by-piece translation, always a dialogue.

Choreographer and urban dance researcher Ana Pi returns to Kaaitheater with a performative and cinematic creation on Haitian sacred dances. This creation brings Ana Pi into dialogue with experimental filmmaker Maya Deren, Haitian popular cultures, the ancestral sacred movements of the Voodoo and Candomblé cultures, celebrating their pioneering spirit and power.

Can choreography be used to fill in the gaps in our historical memory? With Akal, Tamazight for Earth, Radouan Mriziga once again focuses on the knowledge of the Imazighen, the indigenous people of North Africa. In this solo, written for Dorothée Munyaneza, he creates an intimate mix of rituals, traditional dance, architecture, storytelling, song, poetry and rap. A fresh look at an oppressed past.

In The Dancing Public, Mette Ingvartsen explores ecstatic movement at social gatherings in the aftermath of a pandemic. Her solo blows up the solitary confinement of 2020 with a mix of unstoppable movements, incessant music, words and chants in infernal tempos and rhythms. The Dancing Public is a dance party, a spoken word concert and an expression of physical madness to the point of exhaustion. What is this extreme need for movement that we feel in our bodies today? Are we ready to taste life to the full again?

During her 1980 stay in New York, when Anne Teresa De Keersmaeker was rehearsing her celebrated Violin Phase to the music of Steve Reich, the only other recording playing in the studio was Bach’s Brandenburg Concertos. Thirty-five years later, the choreographer brings to them the largest forces she has ever worked with: sixteen dancers from different Rosas generations, along with the complete B’Rock baroque ensemble under Amandine Beyer.