modulus foundation

Giacomo della Marina takes a turning point in dance history, Nijinksi’s famous solo ‘L’apres midi d’un Faun’ from 1912, as the starting point for an original and sensory reflection on contemporary themes such as inclusivity and the general sense of transition and disorientation.

Society struggles to accept bodies that choose different paths, whether they concern choices around gender and sex, shape, work, role, ethnicity, beliefs, age, the list goes on. Bodies and personalities that don’t abide by the rules are demonised by society. They become like mythological creatures that live on the border of existence and non-existence. 

In Roman mythology a Faun is a creature that is part human and part goat. It is a character that is not easily accepted but is a source of attraction. It’s a character who seeks different spaces and who represents all those who seek opportunities for self-expression and inclusivity.

Everyone inhabiting their singular and unique body, can be seen as a mythological character. And myths provide a blueprint for comprehending the natural and social world of a society and the universe, guiding values and behaviours. Mythology comes from uniqueness, from non-conformity and liminality because it comes from the singular essence of each body which is not similar to anyone else’s. Myths are therefore tangible and are the embodiment of irregular souls.

Souls and bodies of this society desire the freedom to follow their own instincts and inclinations and consequently be an example for others. They are as well made of beauty and their beauty needs to be revealed and recognised. In order to allow freedom of being, society needs to accept the liminality of the bodies and the personalities. Not just to tolerate it, but admire it and respect it. Humans are not an image, they are an experience. In this sense, they must allow themselves and others to be comfortable with fluidity.