Biography

Dasha Sedova is an independent dance artist and researcher based in Marseille. She creates site-specific performances and movement laboratories that question bodily norms, trance states, and embodied practices. Her work is informed by research in North Africa and residencies in Bahia, Brazil. She has developed the Provocation and Care workshops to challenge the political and physical potential of Contact Improvisation, and co-organised the COLLECTIV_A dance festival in Tbilisi. She was an associated artist at La Cité des arts de la rue (2024–2025).
Maxime Renaud is a dancer and actor based in Brussels. After 12 years of judo and training in drama at INSAS, he discovered Contact Improvisation as a playful approach to falling and physical dialogue. He co-founded the international collective NotYet and develops interdisciplinary projects linking dance, ecology, and critical reflection.
The project is developed within Collectif CalB, in collaboration with Lilo, Yas, Mara, Iris, and Kostia. The collective works with and through our bodies in public space, questioning their presence in the cities we move through and what they carry—sediments of past, present, and future. Our practice positions the body as both archive and battleground: shaped by history, yet capable of transformation.

Artistic project

W(rong)a(nd)R(ight) / Metamorphosis is a collective dance performance in public space that treats the body as a political site—a frontline where violence and tenderness, resistance and capitulation coexist. In a context where war discourses re-enlist our bodies, the CalB collective explores, through Contact Improvisation and combat techniques, what it means to desert together: to refuse coercive logics, sabotage imposed roles, and reclaim the right to move otherwise. The piece asks a simple yet radical question: what if “wrong” contact were as fertile as “right” contact? By destabilising norms of touch, cooperation, and opposition, the performers inhabit shifting states between support and attack, collapse and care. Public space becomes a terrain of negotiation, where bodies resist alignment with dominant narratives of conflict and control. Here, dance operates as an act of political disobedience—opening embodied possibilities for relation beyond domination, productivity, and obedience.

 Format: performance

Size of audience: up to 400 

Specific location: crowded public spaces, closed or open

Timing/duration: day/night performance 60min