this is a meeting, by Marthe Krummenacher, in collaboration with the UNA Dance Company directed by Roxana Grinstein and guest musicians (musical direction: Leandro Rouco). At the Center for the Production and Dissemination of the Arts of the UNA (Caffarena 72). Upcoming functions at FIBA: Monday, February 28 and Tuesday, March 1, at 5:00 p.m. Free with reservationFive dancers with their bodies, five musicians with their instruments, two aspects on the same stage, gathered to produce an artistic experience more than a show. Everything remains in the field of improvisation. Most. This is an encounter says the title (Ceci est une rencontre) or -rather- several encounters: that of movement with sound; that of chance with the structure; that of each duo, trio or group in themselves and with the other; that of the spectator with the proposal; that of Switzerland with Argentina. And it is, finally, one of the projects that the International Festival of Buenos Aires (FIBA) premiered yesterday and can also be seen today and tomorrow, in a room in La Boca. Like any act of coinciding at a point, the meeting has capricious rules. A draw held five minutes before each performance determines who will perform each day. No one knows, either, when it will go on stage or how much time there will be to start that dialogue between movement and sound -breathing can be both music and silence-. That communication that seems to be fed back, in some cases flows as if it were rehearsed, and in others, less. Do not forget that improvisation is a technique. And that, even when each presentation is unique and even the protagonists change, a chain like that of DNA maintains a certain veiled structure (it would be like saying, for example, that within the certainties is that each interpreter will go on stage twice or that the one-on-one encounters will alternate with three musicians and one dancer, or vice versa). A single moment is scheduled, as seen: it is sung in unison by dancers and musicians, and which transports the public to the Swiss mountains. From there, from Geneva, comes the formation of Martha Krummenacher, the artist who holds the reins of this experience; Mainly a dancer, she has a very interesting career path: she joined Jirí Kylián’s Nederlands Dans Theater (NDT2), and later worked with William Forsythe, two pillars of contemporary dance in Europe for the last forty years; she also with the Argentine choreographer Noemí Lapzeson. On this occasion he has a local accomplice, Leandro Rouco, who was stranded in Switzerland due to the pandemic when the meeting between them took place, which could be a tango: Martha had been developing this project and replicating it in different places for a decade and Leandro he saw that the format could work with Argentine musicians. That’s more or less how they came to FIBA, with the support of the Swiss Foundation for Culture Pro Helvetia and UNA. Of an ephemeral nature, each meeting within this great meeting is armed and disarmed. Guitars, keyboard, drums, bass and percussion; twists, jumps, slides, turns and breaks. The best conjunctions occur when the young dancers dare to produce sound and when the musicians risk movement. For dance, the conjunction could already be intrinsic: as Roxana Grinstein, director of the university company that works on the play, said at the end of yesterday’s performance: “A body in motion is already making music.”