The incident Iguala mass-kidnapping in Mexico (2014) motivated the choreographers to
explore the missing bodies. How to represent the bodies which had disappeared for political reasons. When a person vanishes, with no corpse to be found and not even a funeral, how would the body have been? Neither living nor dying? Or, what about the people who stay living–what kind of bodily state is it? How to present the bodies of these people through dance, those disappeared and those stayed.

The audience must step barefoot onto a 10-meter-long carpet of folded clothes to go into the stage, then they sit on the stage. The end of the carpet is connected to another carpet woven from threads made from old clothes. In the piece, there is one performer (yours truly) continues to weave the cloth on stage. The performer is also a part of the stage, like a looping video. Through this daily-life representation of women in South America, the weaving action transferred the eternal hope: as long as the action continues, the vanished bodies do not die. The concept of „persistence“ in this stage-installation references the genre of Performance Art in galleries and museums, which are mostly of a longer duration than theater shows. The idea was to mix the experiences of participation between art galleries and theater.