RBL emerges in these times of confinement by experimenting with movement, music, and content that ranges from rap, free association, vocal interjections, and slogans. By proposing unexpected interpretations of the rebel figure, RBL invites to generate and share the positive and creative energy that resides in disagreeing, when we grant ourself the need to question the forms of life and rules in a community, experiment with these rules and transcend them, initiating one’s own underground movements, not submitting and keeping faith in the possibility of a better life.
In her unfinished “What is Politics?”, Hannah Arendt makes the following observation: “The meaning of politics is freedom”. This entity that Arendt calls freedom is nowhere inscribed as something that defines or grounds humanity. It is a difficult commitment, she says, a plan of action to be experienced, learned, rehearsed, nurtured and practiced. Like Arendt’s sense of politics, the meaning of my daily training is the freedom of the body but also of the mind.
So I undertook a process of choreographic research on the figure of the rebel in different historical and fictional contexts. I came to the conclusion that (if we add up the ideas of neoliberal capitalism, the omnipresence of the control society and the growing fear of otherness) the figure of the rebel has acquired a negative connotation. Even among young people, social networks are replacing alternative culture and revolt. In Lithuania, for example, the climate of anti-communism means that ideas of community and cohesion cannot be popular and the culture of protest is almost non-existent.
My intention is to rehabilitate the figure of the rebel. There is a certain creative and positive energy in rebellion. It is not only ideas and ideals, or, on the contrary, the romantic image of the “rebel without a cause” that drives a resistance movement, but also the need not to submit and to keep faith in a better life.