Tell us a little about your show and what audiences can expect.
Inlet is a physical and emotional journey into the meaning of walls: those we build with stone; and those we set in our minds. It explores how borders – whether visible or invisible – shape our lives, limit our freedom, or offer us protection. Audiences can expect raw, honest movement, moments of stillness and chaos, and a space to reflect on their own boundaries. There is no narrative in the traditional sense – it’s more like stepping into a living, breathing question. It’s intense, intimate, sometimes uncomfortable, but hopefully freeing.
Can you talk about some of the creative team involved?
Inlet is a project that brought together an inspiring group of artists and collaborators. As the choreographer and director, I came into the studio with a vision, but the piece truly came alive through the talent, dedication and commitment of the performers. Francesco Ferrari, Ana F. Melero, Michele Scappa, are exceptional dancers – each with their unique presence, sensitivity and strength. They brought the work to life with honesty, precision, and a deep emotional charge that I truly admire.
The visual and technical aspects of the piece were shaped by a fantastic team: Carolin Schäfer designed the costumes with care and subtlety, while Marc Thein created a light design that sculpts the space and carries the mood. Jakob Schumo composed the music, giving the performance a soundscape that breathes with the movement.
Where do you draw inspiration from for your work, both in terms of creation and performance?
My inspiration often comes from real life, my background, emotions, memories, and the contradictions I see in the world. With Inlet, it started from a simple story: the legend of Romulus and Remus. One brother builds a wall, the other crosses it, and that moment ends in violence. That image stayed with me. I began to think about all the visible and invisible walls we live with – between countries, cultures, even within ourselves.
I don’t approach creation like solving a puzzle – I build a world through images, emotions, and atmosphere. I place dancers inside that world and let their individuality shape how it moves. For me, movement isn’t just about steps, it’s about saying something honest without needing words.
Looking at this production, how would you say it links to previous work personally and thematically?
Inlet continues a thread that runs through most of my work: questioning structures that confine us – physically, politically, emotionally. I’ve always been interested in how the body can express what words often can’t, especially in relation to identity, control, and freedom. Like my earlier pieces, this one is personal, rooted in my own experience growing up with limitations – seen and unseen – and the constant search for a space to breathe, to exist. Walls, both real and symbolic, have followed me all my life. This piece doesn’t just reflect on them – it dances with them.
What do you find special about Jakob Schumo‘s work and why do you think there’s an appetite for it?
What I find special about Jakob Schumo’s music is its ability to hold both tension and vulnerability at the same time. It doesn’t tell the audience what to feel – it creates space for them to feel. His compositions for Inlet don’t lead the movement; they breathe with it. That’s why there’s still an appetite for this kind of work – it gives room for introspection in a world that often moves too fast to reflect.
Why is this an important story to tell?
Walls impact everyone, physically and emotionally. Inlet invites us to rethink these boundaries and how they shape our world and ourselves. It’s about challenging disunity and separation while encouraging connection in a time when we need it most.
What would you like audiences to take away from seeing you/this production at the Fringe?
I hope they leave with questions, more than answers. I want people to reflect on the walls in their own lives – what they’ve built, what they’ve inherited, and what they might be ready to take down. And because the piece involves nudity, I also hope it will invite people to reconnect with their own bodies without shame, judgment, or fear. At its core, Inlet is about the kind of freedom we all deserve but don’t always feel. If the audience walks out a little more open minded, a little more connected to themselves or others, then I’ve done my job well.
Do you tend to take inspiration from events happening in the world around you in terms of your work? Do you think artists have a responsibility to respond to what’s happening?
Yes, current events have definitely been influencing my work. For me, art is a way to process, question, and respond to the world around us. While not every artist needs to engage directly with what’s happening in society, I believe we carry a unique responsibility to reflect, provoke thought, and initiate meaningful conversations.
How do you feel about the current arts landscape in your country and your part in it? Does it excite you and inspire you to keep pushing the boat out?
The dance scene in Luxembourg is vibrant and full of energy. Artists here are incredibly hardworking and bring a fresh, dynamic spirit to their work. Working in Luxembourg inspires me every day – it’s a place where creativity thrives, and that really motivates me to keep pushing the boundaries and exploring new ideas.
Why are arts festivals such as the Fringe so important for international exchange?
Arts festivals like the Fringe are vital because they bring together diverse voices and cultures in one place, creating a unique space for exchange and inspiration. They break down barriers, spark new collaborations, and let artists and audiences experience perspectives they might never encounter otherwise. This kind of international connection fuels creativity and reminds us how much we share beyond borders.
What can the wider arts community do to get more people involved in their specific disciplines?
I think the best way to get people involved is by showing the depth and richness of what the art form can offer. Not every practice needs to be participatory – sometimes it’s about creating work that invites people to slow down, observe, and reflect. When an audience feels something shifting inside them while watching, that alone can awaken curiosity and build a lasting connection to the art form. It’s not always about involvement – sometimes it’s about resonance.
Have you got your eye on any other shows that are part of the programme?
Yes! I’m especially looking forward to seeing the work of some fellow artists from Luxembourg – In the Bushes by Léa Tirabasso, GO by Jennifer Gohier, and SCORE by Isaiah Wilson. They’re all incredibly talented choreographers and it’s exciting to see their work being showcased at the Fringe. I’m also curious to explore as many shows as I can – Fringe is a perfect playground for inspiration… if I survive the schedule!
What’s next for you and how are you feeling about the future in general?
What’s next for me is the premiere of my new project Unveiling the Abstract, which will take place on 14 and 15 November at Mierscher Theater in Luxembourg. I’m currently deep in the creation process, and it’s an exciting journey exploring new movement languages and abstract narratives.
But before that, things move quickly – right after the Fringe, I head straight to Mexico City for a major production of Giselle with 20 dancers and a full orchestra. It will premiere at the Cultura UNAM Festival on October 5, followed by performances at the prestigious Festival Internacional Cervantino. It’s a beautifully intense season, and I feel energised and grateful to be pushing forward with work that connects across borders and audiences.
How can Edinburgh audiences keep up with you beyond the festival?
The best way to keep up with me and my work is through Instagram at @saeed.hanidance and the website hanidance.com. I regularly share updates on upcoming performances, behind-the-scenes moments from the studio, and insights into my creative process. I’d love to stay connected beyond the Fringe – it’s always beautiful when audiences become part of the journey.
Inlet, Assembly @ DanceBase, 1-23 Aug (not Mon & Tue), 5.30pm