Inspired by Romulus and Remus’ legend and the symbolic meaning of Rome’s city walls, Inlet explores the significance of borders throughout history. Raising thought-provoking questions about walls and their timely relevance, Inlet examines their role as boundaries, fortifications and barriers that influence human interactions and perceptions. Through raw movement and compelling visuals, the dancers capture the essence of separation, confinement and yearning for freedom. Without distraction, their bodies convey universal truths that resonate deeply with our present society. Inlet is more than a performance: it’s an immersive experience, an invitation to reflect, feel and break free.

Bringing their reimagined take on the legend, Hani Dance speak with Corr Blimey

---

Would you mind giving us a brief insight into what your show/event/performance is?

Inlet is a physical, emotional, and visual exploration of the walls we build—around cities, borders, and ourselves. It is a contemporary dance piece, or as I prefer to call it, Movement Art, created with an international ensemble of  dancers who bring their own histories and bodies into the narrative.The performance dives into the concept of walls as both physical barriers and mental constructs. Inspired by the myth of Romulus and Remus and rooted in my personal experiences growing up in the Middle East, Inlet poses the question: Does a violent beginning inevitably lead to a violent end? Through movement, we trace how walls shape identity, conflict, isolation, and power.

Tell us about the creative team and the process involved?

Inlet was developed with a brilliant international ensemble—Ana F. Melero (Spain), Francesco Ferrari (Italy), and Michele Scappa (Italy)—each chosen not just for their technical skill, but for their unique quality of movement and imaginative depth.

The process began with a residency at Ufer Studios in Berlin in 2022, supported by Kultur | lx. When I enter the studio, I come in with a clear image in mind—an atmosphere I want to build, a landscape I want to bring to life. The dancers are not asked to create from scratch; instead, I give them specific tasks, structured situations, and emotional provocations. I observe closely how movement naturally emerges from each body, and then I shape, refine, and interrupt—always looking for the exact moment that completes the image.

The creation is tightly directed, yet fluid. It’s not improvisation, but it’s not rigid choreography either. It’s about capturing truth—movement that doesn’t perform, but reveals. What we built together was not just a piece of dance, but a visual and emotional architecture of walls, tensions, and ruptures.

---

How does it feel coming to the Fringe?

Honestly? It feels a bit like landing on the moon with dusty shoes from Damascus.

Coming to the Fringe is surreal. I’m Syrian—born into a place where dreaming is part of everyday survival. But back then, dreams like this didn’t feel real. They floated somewhere far away, like stars you could see but never quite touch. The Fringe Festival was one of those stars—a mythical place where raw, bold, unapologetic art could breathe freely. It was a “maybe one day, in another lifetime” kind of vision. And now, somehow, I’m here. We’re here.

It’s overwhelming in the best way. It’s like being handed the microphone in a room you’ve watched from the outside for years—and finally, you get to speak with your whole body.

Also, let’s be honest—Fringe is chaos. Beautiful chaos. But as someone who grew up navigating unpredictable realities, I feel strangely at home in it. So yes, I’m ready. And I’m bringing my walls, my questions, and a whole lot of sweat and movement with me.

With shows from all over the world at the Fringe, what sets yours apart?

Inlet doesn’t just tell a story—it builds a world. It invites the audience into a space where movement becomes language, and the body becomes both question and answer. It’s not just dance—it’s a confrontation with what we hide behind.

---

Is there anything specific you’re hoping the audience will take away?

I don’t want to tell the audience what to think—I want them to feel. If they leave questioning the walls in their own lives—visible or invisible—then Inlet has done its job.

And because the body is central in this piece, often naked and unfiltered, I also hope people reconnect with their own bodies—not as something to hide or judge, but as something powerful, vulnerable, and human. It’s an invitation to look with less fear and more honesty.

Your Ideal audience is in attendance, who’s watching? Or more importantly – who isn’t…?

My ideal audience is curious. They’re the ones who come with open minds and leave with even more open questions. They might not be experts in dance, but they’re ready to feel something real—through movement, silence, even stillness.

Who isn’t there? Probably someone looking for light entertainment or a clean, polished story with clear heroes and villains. And that’s okay—there’s space for all kinds of art. But Inlet is for those who enjoy a bit of mystery, honesty, and aren’t too surprised to see the human body treated as a canvas rather than a costume.

It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?

Relax? I have absolutely no plan to relax. None. Zero. But my team has made a very kind (and slightly worried) promise to help me find moments of peace—and I trust them. Maybe they’ll force me to sit down, drink water, breathe… occasionally. We’ll see how that goes.

As for recommendations, I’m incredibly proud to shout out some amazing artists from Luxembourg: In the Bushes by Léa Tirabasso, Go by Jennifer Gohier, and Scor by Isaiah Wilson.

They’re brilliant choreographers and beautiful people, and their work deserves every spotlight. If you see them, tell them I sent you—and maybe tell me what happened too, in case I forget to breathe again.

In your ideal world, how can we improve the Fringe, performance, and the industry?

I’d love for art to be seen as a necessity, not a luxury, with real support for artists all year long. At the Fringe, more help for international artists would be amazing—those crossing borders with big dreams deserve it. And honestly, a genuine smile goes a long way during the crazy festival days.

---

---

Interested in being featured on our Have a Gander page? With many previews and Q&As lined up, we’re always happy to chat about including your show in future articles. Please do get in touch through the contact page to feature in an upcoming ‘Have A Gander’