Like the vast majority of artistic creations and projects, we also began from various reference points. In the first meetings, still in the planning phase that preceded the laboratories, we launched the first ideas and shared the work of artists, philosophers, politicians, and people from various fields of knowledge who could feed our practice. We also searched for authors and artists who belonged to the cultures present in the project. The same process took place before the performances, where we discussed poems, theories and discourses that could inspire the creative process. These references proved to be essential at all levels. They were the origin of exercises for the laboratories, informed our discourse with the students in the schools, gave rise to moments within the performances, and established core principles of our modus operandi. Thus, the names of Crystal Pyte and Philip-Lorca DiCorcia permeated the classes in Odemira, the films of director Amit Dutta were projected onto a white dress in a forest, and philosopher Richard Kearney's "radical hospitality" was one of the guiding principles of the first BOWING performances. Even when references were not directly mirrored in the work, they could envigorate its inner structure. Whenever possible, we tried to make connections between our references and the project participants. There are as many ways of explaining an idea as there are people on the planet. No theory is too complicated to be understood by a fourth grader or a migrant worker in an agricultural greenhouse, who is so often subject to preconceptions about his understanding of the world. So we showed Pina Bausch to men from Punjab and Mughal painting to Portuguese students from Odemira. We always took books into the greenhouses and shared references on WhatsApp. We are never alone. The richness of the work is greater and more generous when we rely on the work of others, when those others accompany us, just as others would have accompanied them. This richness is even greater, however, when bridges are established - sometimes unlikely ones - between the participants and the inspirations for the work, when those references are open and exposed to everyone.