Jomar Mesquita's second creation for SPCD is based on Arthur Schnitzler's play La Ronde - written in 1897, the work depicts different love relationships including a third - and brings elements of dance ballroom dance to portray the different ways of loving. Ngali is a word of Aboriginal origin of Western Australia, whose meaning, without correspondent in another language, is: "the two of us, including you". In opposition to another pronoun from the same language - Ngaliju - which means "both of us, excluding you". The choreography was awarded Best Choreography by the public’s choice in the Best of the Year Award 2016, promoted by Guia da Folha, published by Folha de S. Paulo, the largest Brazilian newspaper.


“Ngali is a word originating from the Aboriginal language of Western Australia which means "the two of us, including you", and cannot be translated in an another language. In opposition to other pronoun of the same language - Ngaliju - which means "us, except you." A people who needs different pronouns to define what, for us, is just "us." More than a century ago, Arthur Schnitzler wrote La Ronde, a play that was adapted to the cinema few decades later. A subject that remains actual and controversial, but as well fascinating. Where every relationship between two people, includes a third… "both of us, including you." Or, from another point of view, would be relationships where always one of the two is excluded by the coming of another? "We both excluding you" (Ngaliju)? The suspension points in the title does not appear without a reason. I've always loved suspension points, which to me represents the continuity, the expectation about the future, a non finitude… after adversities, after the end of a relationship, or a lifetime... the certitude that others will come, new possibilities, new loves... An invitation to something else... But the suspension points may also represent what is not said, what is insinuated, and can be imagined the way anybody wants, by who see, who read. Once, in a very special circumstance - but in a very different context - the person that I love the most in my life pointed to an illustration of a storybook and told me surprisingly, just like this: "This is a desire that cannot moves on". In Ngali... the desire moves on ... another kind of desire, but that moves on. Moves without hypocrisy or shame, with the authenticity and beauty of this Company. According to Pedro Almodóvar, people are much more authentic the more they look like their desires”.


About Jomar Mesquita: He is a choreographer, dancer and dance director. Develops an extensive research of the dances the two and their relationship with contemporary dance. He is the director of Mimulus Dance Company of Belo Horizonte. He began choreographing in 1992 and his works have been displayed in many countries. Parallel to his activities in Mimulus, creates for several companies.

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