Cindy Van Acker takes as her starting point an existing musical work, Quando stanno morendo, by Luigi Nono: ‘I dedicate this piece,’ writes Nono, ‘to the Polish comrades who, in exile, in prison, at work, resist; who hope while being desperate, believe while being incredulous.’ The political dimension, revealed through Slavonic poems, is the very essence of this work, whose structure imposes itself on the choreographer and her seven dancers.