2023-09-28 20:17:11
If the world of contemporary dance in Spain is already unknown, even more so, if possible, it is the situation of young professionals. Meanwhile, these have already passed their basic training phase and have achieved a track record in creation and interpretation that is not inconsiderable, with a view to total consolidation in the professional circuit. And this is precisely one of the themes that underlie We are not here to dance.
It starts from a closed sequence of movements that, little by little, lead to the “free interpretation” of the guidelines that its creators and dancers, Rocío Barriga and Sergio Suárez, decided to give themselves. I’m talking about repetitive dance steps done in unison, pelvic movements in search of having a slim and trained body, and other things like that. At this point in this piece of La Basal, everything is very neutral and even insipid, or in other words: I didn’t know what the point was of bringing this sequence of scheduled movements to a stage. It was as if they had invited us to attend one of their body maintenance and stage experimentation sessions.
And that’s precisely what they did. That is to say: once they changed costumes and were giving free rein to their thoughts in the form of comments, while they returned to several of the movements previously addressed with a “mirror effect.” That was when the “circle was closing,” leading them to form “spirals” that pointed to infinity. Take into account that Rocío Barriga and Sergio Suárez have wanted to take the risk (in every sense) of proposing a piece that, more than just a regular piece, is a kind of “performative conference” (to call it something). Since its content was practiced, it was not explained. What’s more, in the discussion that took place after the performance, they confessed to us, the spectators, that what we had seen is the product of what they had been debating until that day, since We are not here to dance It is a work that has been designed to continue evolving over an indefinite period of time.
A work that once it is studied as a whole, one realizes how we have been “colonized” through inertia, thoughts…, without it being usual to exert a certain resistance, or at least reflection on what we have been doing with our own bodies and with the practice of dance in extension. Some will say that this is part of the path to achieving a high degree of autonomy and knowledge about what it means to dedicate yourself to dance professionally, which is a legitimate starting point. However, contemporary dance has opened up so many possibilities for us, that it is a matter of time and honesty, for this discipline to grant “licenses” to do philosophy about it by “dancing it”, not writing, for example, a book with aspiration. to issue conclusions about something that, by its very nature, should not be interrupted in its investigation and formulation of questions.
Therefore, when you see We are not here to dance The appropriate posture and attitude must be adopted to share questions and concerns so that this discipline is taken to healthier places to practice and develop (both physically and mentally). Otherwise, we would resort to the “pretext” that it is a kind of “teasing” by two young dancers who, deep down, are throwing a tantrum. And nothing could be further from the truth, then, Rocío Barriga and Sergio Suárez have undertaken a project that perhaps at another point in their professional career would not have been understood, much less would have been in line with their contemporaries. That is: although it is true that we are in a time in which nihilism (but not that which Friedrich Nietzsche professed) has conquered a lot of territory in our society, this should not demobilize us when it comes to understanding that we are actually within it. of a plane that is on “autopilot”, and we spend the time “distracting ourselves” with whatever is in front of us and “tripping over our own heels”, things that either respond today to logic that we They lead us to stagnate, or in the worst case, to rot.
Behold there defend that every time it is programmed We are not here to dance its subsequent colloquium must be incorporated. If not, many of those who would be part of the public will be left with many unfinished things, and they may not take the time to think about it; but also, the mere fact that Rocío Barriga and Sergio Suárez receive feedback from the public helps them advance their research and experiences with it, since this is totally linked to the growth of this project. So that We are not here to dance It can be understood as a tool for a generation of dancers (and those who are still training in their corresponding conservatories, academies, etc….) to recognize and support themselves among those who make it up. And no less important, that those who belong to other generations are willing to dialogue more with those who will be in charge of taking over and preserving a discipline that is inherited “from body to body.”
Definitely, We are not here to dance It seems to me to be a mature, necessary, honest, pedagogical work done with a great sense of humor. Seriously that There would be few places in which I would not consider it advisable to unleash this “performative experiment.””. By revealing that it seems that we have barely begun with contemporary dance and the identification of its aesthetic and political implications.
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