2023-05-26 22:14:21
As in the first edition of danceberiathe selected creations have been within the cycle programming Now Dance!, and later, they will be represented in Faro (Portugal). This, let’s say, is what reaches the majority of its viewers, since these projects passed a coordinated call between the PAD (Andalusian Association of Dance Professionals) and the Portuguese association REDE MORE, in which spaces are set up for the dialogue between the professionals involved; three-hour workshops given by the professionals of the selected assemblies, where several of the guidelines that made them possible are addressed; the knowledge of spaces for the creation and representation of works to promote greater dynamism between both territories; etc.…
Without forgetting that this cross-border project has had the collaboration of the General Secretariat for Foreign Action of the Ministry of the Presidency, Interior, Social Dialogue and Administrative Simplification of the Junta de Andalucía. They also had the complicity of CICUS- University of Seville and Espacio Camada, a choreographic space (Faro). Therefore, I give way to my comments to choreography practice already Disturb.
Photo: Joseì Carlos Duarte
Portuguese project
JOÃO DOS SANTOS MARTINS AND ADRIANO VICENTE (Santarem/Lisbon)
CHOREOGRAPHY PRACTICE
With regard to the Danciberia project, it was decided to incorporate Marcos Pereira, who as a deaf person, knew how to join in record time (two intensive days of work), so that on this special occasion the sign languages of Spain and Portugal coexist and interact, as well as Portuguese and Spanish. However, choreography practice It is a work that has been represented in various spaces and contexts since 2020, where at first, the sign language of Portugal and the Portuguese language were shared. After several experiences in South Korea, Portugal or Brazil, this time they opted for a formula in which this piece is accessible to anyone who is part of the CICUS public and to those who are going to see it in Faro in the next 1 and July 2 (also will happen with Disturb).
Such was the rapport between Marcos Pereira with Adriano Vicente that, the mirror effect when signing and pronouncing the words through which they transited in their respective languages, was carried to its last instance. Yes, it is that type of dynamics have always been useful to work on improvisation and the connection with a dance and theater classmate, but to make it sustainable for forty minutes without implying that they had run out of “new ideas”, Well, there is the merit at the compositional and interpretative level of all these professionals.
It is truly crazy how they managed to cross the barrier of what seems like a “good idea”, so that it transcends what was initially planned. This is: let’s be frank, seeing two or more people speaking in sign language, on a scenic level, is interesting and very beautiful. Of course, João Dos Santos Martins and his team will have left their skin for countless hours to stylize the fact that there are two people signing, pronouncing and dancing the words in play. However, finding the changes of rhythms and scenes at the right moments is for teachers. Above all, in a room where “nothing happens”, there are only two people being “obedient” to the guidelines that structure Choreography Practice.
Even with everything, these professionals had us, the spectators, without the ability to predict how they would give a new turn to these guidelines, since they knew how to play with the way we were going to receive it: just from this! it is about representing from the here and now a closed scenic piece! And of course those things that are part of this piece were most intuitive (first there was no interaction between them, then there was a more fluid dialogue between them, and other things like that); however, everything was done with such truth, care, intelligence, rigor and passion that, they could have taken us anywhere and kept us eating out of their own hands.
Marcos Pereira and Adriano Vicente constituted an environment that oscillated between the solemn, the surreal and the grotesque, so that in one way or another, offer a heartfelt tribute to the languages that brought them together through this project, and to communication in general. Although it is true that it is well known that Spanish and Portuguese are very close languages in their respective morphologies, syntax, and phonemes, seeing the sign languages of Portugal and Spain sharing and coinciding in some signs was, to say the least, magical: almost an exercise in comparative anthropology. Seriously that, choreography practice It is a work that deserves to be on tour for many years. In the meantime, why not, Portuguese and the sign language of Portugal continue to be intermingled with those of the people they meet along the way.
Photo: Rafa Núñez Ollero
Andalusian project
CARLOS LOPEZ CAMPS & ISRAEL VEGA
DISTURB (Premiere)
Throughout the performance of Disturb I dealt with a struggle between the part of me that said that I would do things differently from how these two Andalusian professionals executed them, and the premise that this work should still be in the research and editing phase. Don’t get me wrong Disturb It is a job that aims very high, and as such Carlos López Camps and Israel Vega they shouldn’t settle. Honestly, it shows that they understand each other beautifully and that they believe a lot in what they are doing, which implies that what is “on the right track” in this piece shines above everything that needs to be studied in more depth.
The costumes, the music, how these professionals relate to the space, the materials with which they interact (adhesive tapes, paints, etc.)…, it’s almost unfortunate, but it is still perceived that they are capable of synthesizing much more in the conceptual framework and in the way in which they act on stage. Perhaps in this case I am becoming more demanding than usual, but this is because I am confident that Carlos López Camps and Israel Vega have enough resources to put in more hours, try this and that, transfer this creation to the most disparate and unsuspected… The fact is that they have the germ of a work that is called to be something very powerful and easier to decipher.
And if they had not been given the opportunity to perform within the framework of the Ahora Danza! cycle, it is likely that the time to open the show and be able to compare the impressions they have gathered from those of us who have integrated the public would have been delayed; how they have felt before an audience represented this piece; and well, how someone who writes about performing arts reacts to Disturb. Here is one of the values of reserving spaces to represent the so-called working in progress and the pieces that “depart” from what is most in vogue. Undoubtedly, this is something that the members of the PAD in other projects in which they are involved, such as Circula (in this case, in coordination with other associations from various autonomous communities in Spain) or Vertebraciones, since, unfortunately, it is common to deprive the public of enough contexts in which to induce reflect on what “cannot be seen/cannot be seen”. I have not yet come up with a solution as to what role performing arts associations should play when it comes to promoting and suggesting changes in theater and festival programming. In any case, I think that projects like danceberia They help us address such issues without being “distracted” by viewing absolutely marvelous productions of indisputable quality, or the false dichotomy that the “emerging” are or are not prepared to present their pieces in professional cycles and other things like that. Things that have done nothing more than establish stratum dynamics among stage professionals that do not allow further development of these disciplines, which are precisely the ones that most require the promotion of plurality of languages and freedom in creation. That is why I defend that the tastes of the most assiduous spectators, those of the programmers, those of the distributors and of the people who write about performing arts, is something that has to be given in parallel to the free evolution of the performing arts.
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