This creation emerges from the idea of impact.
Impact of sound, impact of the body.

In an intense intersection between live music and choreographic movement — a collaboration between Play False | cultural association and the Espinho Professional School of Music, with 4 dancers and 4 percussionists — this creation inhabits the territory of the unspeakable.
Between the gesture that erupts and the silence that resists, between collective rhythm and the possibility of rupture.

All percussion begins with an impact.
The strike or collision on a surface, resonating with the force of a body, symbolizes confrontation — with space, with the system, with the established order.

In percussion, sound does not whisper — it explodes and imprints.
Percussive music does not submit to control, it defies it — the body launches itself against the laws of gravity.
In the social sphere, sound is equally a reflection of external tensions, just as the body is a territory of impact, where the forces of the world collide, reverberate, and take shape.

Movement is living impact. It is not word, but gesture.
It may not be a demonstration, but it is a presence that manifests.
It manifests in the weight of the falling body, in the urgency of the beating pulse, in the shared breath between those who dance and those who watch.

It does not claim a single explicit cause, but carries the memory of the body that insists — that refuses to yield to silence.
What vibrates together, even without a slogan, can summon.
The body does not shout slogans, but responds with displacement, with obstinacy, with intensity.
In the subjective territory of the moving body — in dance — pulses an ambiguity evoked by a presence that carries meaning, yet escapes singular interpretation.

This is not a protest — perhaps because there is no single explicit cause, no raised flag.
There are bodies gathering, moving in unison and in conflict; percussion that insists, that vibrates, that summons.
There is gesture. There is presence. There is noise.
A place where something may begin to interfere, to unsettle, to transform.
Where sound tears through silence and the body breaks the rhythm — in a gesture of possibility.

In a historical moment where bodies increasingly become symbols of political discourse — and where collective expression is often instrumentalized or polarized — This is not a protest offers a sensitive reflection on freedom of movement, the ambiguity of gesture, and questions what it means to be in common.