2024-01-09 11:44:19
On January 12 and 13, it will premiere at the Teatro Central (Seville), A€RÓBICA: Corporal Management of Verbal Aporíashand in hand with Silvia Balvín / Rosa Cerdo. First of all, I leave you with a few outlines of the careers of the professionals who have promoted this project:
SILVIA BALVÍN PAREDES (Almonaster la Real, Huelva, 1985)
Dancer and creator based in Seville. She trained and graduated in contemporary dance from the Professional Conservatory of Dance of Seville and the Andalusian Dance Center. Between 2006 and now she participates in intensive technique, improvisation and composition workshops with choreographers such as David Zambrano, Meytal Blanaru, Rasmus Ölme, David Hernández, Sandy Williams, Gabriela Carrizo, Horacio Macuacua, Martin Kilvady and Guillermo Weickert, among others.
In recent years he has worked under the direction of artists such as Miguel Marín, Teresa Navarrete and María Cabeza de Vaca in Welcome to the Montgomery Experience, Juan Luis Matilla/Mopa en Error or Alberto Cortés in Spiritual Journey. As a movement assistant she has collaborated with La Executor / Fran Pérez and Julio León in The Shop assistants and with Mopa in Da Mopa.
In 2014 she founded her own creative collective, Rosa Cerdo, directing several pieces of different formats, always in collaboration with Alberto Almenara.
ALBERTO ALMENARA SÁNCHEZ (Sevilla, 1984)
Graduate in journalism from the University of Seville. Alberto started in the world of music fifteen years ago, when he bought his first bass and started a band. rock with several university classmates. After this stage he joined Hiroshima Atomic Gardengroup of punk y hardcore with which he self-released three EPs (‘Guitars Dans the Floor’, ‘Safe & Sound’ y ‘dark violent‘), was able to share the stage with one of his musical references (Lisabö) and expanded his repertoire of sounds, even starting to sing (being the main voice of the group in its last stage). She simultaneously began playing with two other groups. On the one hand, Salieriquartet pop with whom he toured throughout Spain (along with Sr. Chinarro, Refree or the swedes Jeniferever) and recorded an LP in the studio of Paco Loco (‘Frogs, Lemons, Sea’, 2008, Discos Lilliput) and an EP in the Pancake Studio of Fernando Zambruno that never saw the light. For another, Trisfegroup of pop y post-rock with whom he published an EP and an LP (‘To fall asleep’ y ‘burn things’, 2010, Wild Seal) and shared stages with bands like McEnroethe Chilean Soledad Velez or the danes Reverberation.
Once all these projects were finished, he decided to launch himself into the world of improvised and experimental music, first under the name Kathmandu and then as veronal. He has published a single (‘Pocket Calculator -Kraftwerk cover-‘), three EPs (‘Im’, ‘Swan’ y ‘The new meat‘) and two discs. The first of them, ‘The cabin in the woods. Songs for Maclein and Parker‘, is a compilation of songs with which Alberto participated monthly on the publisher’s blog MacLean and Parker. The second, ‘Life at 5 knots‘, is the soundtrack of the documentary of the same name and which is about the life of the crew of the training ship Juan Sebastián Elcano, directed by Alejo Moreno for Telemadrid and which was presented at the Malaga Film Festival.
In the field of performing arts, he met the contemporary dancer Silvia Balvinfounder of the company Pig Pinkwith whom he began a fruitful professional relationship that today results in a long piece (‘ALF‘, premiered in the Central Theatre in the context of the 23rd edition of the international exhibition Dance Month of Seville), another in process (‘h o v e r i n g‘, in which they will work with several illustrators) and several short pieces for singular spaces (‘Yes that’‘Thinking Putty’, ‘Blood, broccoli, Acapúlco’, ‘Tangram’ y ‘Needs improvement‘ with those who have participated in initiatives such as Concentrated Meetings or the Room Art Fair from Madrid). In all of them, in addition to composing the music, Alberto is involved as a performer alongside Silvia. Additionally, he composes the music for the performance work ‘A trip‘, of Ivan Vergara y Sandra Carvajalas well as for ‘Invisible. The city of Asterion‘, of Teatro A Pelowork with which the new Turina Space of Seville and which was later performed on the subway platforms of the capital of Seville within the framework of the tenth anniversary of the Seville Performing Arts Festival.
Photo: Alberto Almenara
It is relatively recent that the Andalusian Agency of Cultural Institutions The Junta de Andalucía has launched an artistic residency program, in which the projects that have been selected not only have a well-equipped space to continue assembling the piece at stake; But in addition, there are free workshops that the performing arts community can access, so that professionals can share their lines of research. And thus the warming up is that they carry out an exhibition with free entry of what they have advanced up to that point.
All these steps have been done by the members of Pig Pink. Andalusian company that I have heard speak highly of, but I have not had the opportunity to get to know their work, so what better way to enter their imagination than by going to the premiere of their most recent creation. Without forgetting that, one way to value this project coming from the Junta de Andalucía, is for the public to fill out every time the work in question is performed. Thus, those responsible will realize that this investment in Andalusian cultural heritage will need to take it a couple more steps, in order for its development to continue. Without further ado, I give way to a synopsis of A€RÓBICA: Corporal Management of Verbal Aporías:
“INTELLIGENT, DISCREET, CURIOUS, SILENT OBSERVER AND OWNER OF A WELL-TUNE INSTRUMENT—HER BODY.
SILVIA BALVÍN AND ALBERTO ALMENARA, THEIR COMPANION IN UNLIKELY NARRATIVES, REMIND US THAT THE BODY IS HEAD, THOUGHT, WORD… AND THAT, THEREFORE, AN INTELLIGIBLE TEXT CAN BE EMBODIED AND WRITTEN WITHOUT WORDS.
According to the choreographer: A€ROBICA: Body Management of Verbal Aporias It is a training and composition plan based on the conviction that the intellectual and the physical (or the rational and the sensitive) coexist in continuous conflict, as two contradictory and inseparable planes that share a common line; an unbreakable hinge that begins to rust as soon as we stop greasing it. The body and the verb always tend to collapse on each other, but only exceptionally do they come to coincide.
We can ask ourselves, as Balvín does: In what form are we going to plant this on the stage? Well, in a format that, if it were not for the fact that it consists of a live performance in which not a single word will be pronounced (neither sung nor spoken), could be defined as a 55-minute video clip due to its rhythm and structure.
The universe of the video clip is full of anachronistic mixes that, seen from a certain perspective, taking distance in time, end up being easily locatable in a specific era; That is to say, the aesthetics and sounds that, for example, in 2000 were inspired by the 80s now do not sound like the 80s, but rather the 80s of 2000 or, simply, the 2000s.
Few stimuli have as much power as music to remove, recover, disorder and reorder the past, activating memory switches that make us travel in time. And if there is that ineffable time, a subjective time, it should be elastic, porous, permeable and hackable through any affiliation that connects us with the lived past and with the desired future.
Together with the creator, we also think that the body on stage also has the power to become an image-flask to be filled with the potions poured by complicit spectators and, once full, return to them the reflection of a common world. We do not believe that it always happens, far from it, but it can happen, and it is an objective that Silvia, neither as a dancer nor as a spectator, loses sight of, although sometimes she feels distant and small, like a star in the sky or like a dead pixel. “That is the challenge.”.
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