Deliberate excess; More Is More reclaims the body as a site of autonomy —an ever-shifting terrain where complexity is celebrated; in abundance, our bodies refuse to be made small; in excess, our bodies reappear— strange, layered, and unapologetically alive. More Is More is a visceral dance work inspired by the urban counterculture movement of Mexicalism, a bold aesthetic that celebrates excess, contradiction, hybridity, and the radical remixing of cultural identity. Emerging from Mexicoʼs urban underground, Mexicalism rejects minimalism and embraces accumulation—layers of colour, sound, symbolism, and gesture that reflect the chaotic beauty of contemporary life. At the heart of the work is cumbia: a rhythm born from resistance. Originating on the Caribbean coast of Colombia, cumbia emerged through the convergence of African, Indigenous, and Spanish influences, shaped by histories of displacement, survival, and cultural exchange. Initially created among Afro-Indigenous and working-class communities, cumbia travelled across borders and transformed throughout Latin America, becoming a shared language of migration, resilience, and belonging. Today, its resurgence through underground scenes, sonidero culture, digital cumbia, and urban dance communities has positioned it as a new counter-cultural force—often described as “the new punk” for its DIY spirit, adaptability, and refusal of cultural erasure. In More Is More, cumbia becomes more than music; it becomes a choreographic pulse and a political gesture. Like Mexicalism, it acts as a symbol through which we recognize one another as Latin Americans— across borders, languages, and differences. The body becomes a living collage. Movement draws from Butohʼs transformative physicality while colliding with the vibrant visual language of street culture, popular iconography, ritual, and urban mythology. Costumes, gestures, and sonic textures accumulate on stage, creating a landscape where identities are constantly constructed, dismantled, and reassembled.