Nora Chipuamire said (something like) «ancestors, they live in your bones, and through your dances you can connect with their rhythms, ways, and vibrations.»

Paz Rojo initiates us to think from the future anterior, or the future looking back. «When you see a dance performance try thinking ‘ah, so this is what they were doing in 2025…hm'»

If we might agree that there are ancestors inside of our bones, we could also say with good probability that we are ancestors in the bones of the future. So what does it mean to live in the bones of the future? Such a question positions the asker in the place of an ecological time. A folded time. A time with holes, where temporalities live inside of each other. Ecological thinking for an ecological crisis. A crisis of no future, not just in the sense of imagination as demonstrated by Mark Fischer, but of the life of humans and countless animals on the planet in the 6th extinction marked by countless climate scientists globally. The problem isn’t that humans don’t know what to do, but that as an individual shit is just way too overwhelming to even know where to begin to start. Perhaps, the problem is that there isn’t a relationship with a future to motivate a response-ability. How to create a situation to allow us to speculate not on what to do per se, but on building a relationship with the future which might give us a basis for acting?

Out of these questions arises Future Daughter. An immersive dance performance born out of the question of what it means to dance in the bones of the future. It is an echoing duet between the present and the future, where movement originates within contemporary dance geographies, specifically feeling and thinking with the works of Marcelo Evelyn-«de repent fica tudo preto de gente,» Meg Stuart and Benoit Lachambre- «Forgeries, Love and Other Matters,» Carolina Mendonça-«Zones of Resplendence,» and Amanda Piña- Danzas Climáticas. Through these dance-scapes bones rattle, stomp, shake, break open, and burn creating constellations for a not-yet audience to interpret and create a world with.

Future daughter is foremost busy with Whiteness. To address one’s ancestors, both future and past, it seems that one must first MOVE through the processes which separate us from them. This colonial project, which displaces ancestors, destroys cultures, and necropolitically enforces the erasure of embodied lineages of knowing in the name of freedom, could be called simply: Whiteness, or as Moten and Harney call it, «the hard materiality of the unreal.» The sociality which enforces economic and political hegemony favoring white patriarchal bodies, and produces as a main output the mythological notion of an «individual.»

Future Daughter tries to break through the statues of «the unreal» as it dances amongst the affects of isolation, paranoia, sadness, and fear. This is a body consumed as the pain inflicted elsewhere boomerangs back through its own core, growing through the cracks, struck down by the echo of the violence it perpetrated, driven mad as the image it inflicted elsewhere shines back on it. Future Daughter is the oracle of the «free subject» desecrating itself, given to the future in a smoke signal, in a dance.