In Hu(r)mano, four performers, similar in their dance backgrounds, provoke an encounter between the street dance techniques they master (house dance, gliding, popping) and the interstitial space of negotiation between the "I" and the "we."

It is a constant search for the meaning of dance as an abstract, mutable, and ephemeral product, intuitively generated within contemporary and urban universes.

The transposition of these languages onto the stage opens up interpretations of rhythms, postures, spatialities, and unique forms of occupation, as well as deeper psycho-social layers related to community and solitude, counterculture/underground culture, and energetic tensions.