The future is plural. In art, as in the world. It is this polyphony that resonates in the performances that make up the GUIdance 2024 festival, featuring creators who bring different shades to the eloquence of the body. In this edition, the spotlight is on Africa – reflected in very distinct approaches, in the performances “Bantu” by Victor Hugo Pontes; “Time and Space: The Marrabenta Solos” by Panaibra Canda; “Boca Fala Tropa” by Gio Lourenço, or “.G Rito” by Piny – and on Asia – with a particular focus on Taiwan, featuring “Beings” by Shimmering Production and “bulabulay mun?” by Tjimur Dance Theatre. But there is much more, a plurality of visions of being, identities, bodies, muscular and sensitive experiences, expressing an inspiring pulse of a world of already realized utopias that go beyond normativity, the commonplace, and the reductive logic of Western capitalist thought and knowledge. These dances and these people with their dances bring dreams to living reality. In other words, we remain here, in this territory where radicalism, oppression, war, inequalities, and the climate crisis exist. It is here and in this today that these creations dwell. But we are not doomed to remain in this here and this place. It is up to each individual to participate in change. The more Eurocentric presence in this program, which marks Wayne McGregor's return to GUIdance, “UniVerse: A Dark Crystal Odyssey”, is an example of this. It speaks of a planet on the brink of extinction, facing a dramatic climate and humanitarian crisis. Between documentary and fiction, it creates a new eco-mythology. In these conversations, as in the performances, we intimately touch on this possibility of summoning other knowledges to jointly open the possibility of constructing another strange way of living. More just, more ecological, and more loving. Because: The future is plural. In art, as in the world.