In the village of resistance to the oblivion, even the dance belongs to the memory. Each step of the traditional dance constitutes a move in the spacetime of polycyclicity. That’s why tradition is compatible with faith. And even its errors can be corrected by it. For that reason, dancing is also an act of resistance to the oblivion firstly but also a counterattack to the barbarity. Because only alive people can dance with their soul. For him this was the rationale of his participation. He wanted to show that he was there in this place, in this village because they were together. From the beginning it was impossible for him to separate the facts of genocide and resistance. Even with dead people, memory is crucial and tougher than death. It’s not just a game even with perfect information. It’s not just an exhibition but a coded reality which belongs to superhistory. Year after year, everybody realized how the robustness is important. So when you see the whole village, which is dancing, you can admire the beauty of this robustness and its impact on the souls. The souls saw the recognition of the savior by the survivors.