2023-06-17 01:14:01
Once again this festival belonging to the Red Acielobierto, presented us with a rich and varied program on Friday. In which professionals from Italy, France, the Basque Country, Ecuador and Tunisia were its protagonists.
Alessandro Sciarroni (Italia)
SAVE THE LAST DANCE FOR ME
In the synopsis of this piece we are told that until Alessandro Sciarroni I had no news of the Polka Chinata Through a documentary, this dance of Bolognese origin was only practiced by five people. Thus, the Cádiz en Danza Festival acted as a showcase and a means to update it so that something that could only have transcended in the restricted academic contexts, gathering of historical Italian dances, etc… does not end up “gathering dust” with the over the years after the development of said investigation.
Is about one of those jobs that make you love dance more in general. Being that observing two people dancing at the same time that defy the ravages of the passage of time, supposes to represent, performatively, the meaning of feeling heirs of a legacy that can be shared. That is to say: The key is that the conservation of the Polka Chinta is consumed by dancing it, leaving the rest as mere complements and supports for its corresponding documentation.
On the other hand, Save the Last Dance for me It is a good example of how using a formal scheme for the composition of a piece gives depth when a work stands out from the narrative from the beginning. In any case, during the development of this piece “a lot of things happened” between Gianmaria Borzillo and Giovanfrancesco Giannini, as they are interacting using dance as a vehicle. In this line, it gave me the feeling that Save the Last Dance for me it would end at any moment or last another half hour. As if these Italian professionals had been playing with the ability to calculate the time of the spectators. All this without addressing a specific topic, they were just dancing…
Photo: Lourdes de Vicente
NO MAN’S LAND COMPANY (Ecuador/France/Tunisia)
I WENT WITH YOUR NAME
In I left with your name that principle is exercised that says: the opposition of two forces generates some kind of balance. So much so that Marcelo Javier Guaigua and Lemia Boudhiaf They extrapolated this principle in what refers to the execution of their movements, as well as in what gave rise to this creation. This is: when I had the opportunity to chat with Lémia Boudhiaf, she told me that they both started from the simple gesture of covering one’s mouth or covering someone’s mouth, as a sign of censorship or self-censorship when one of the agents involved publicly manifested for various reasons. In such a way that this balance is sustained thanks to the fact that each of the agents involved tries to make the situation change according to their demands and needs.
Far from justifying the abuses and outrages of those who put themselves in a position of power, these two professionals searched for the formula that helped them universalize the issue of censorship and how it can be translated into a dance that flows throughout space. Although at first it seems controversial to raise it, it is curious how two opposing forces eventually adapt to each other to continue interpreting the role they have assumed, something like the master is perceived as such because there is a slave who behaves as if that person were his master. And if this is transformed into another type of relationship because one of the agents involved stops supporting each other in the same way, well, the point of balance it moves to another place, establishing a new scenario in every way. Behold, I conceived I left with your name as a work that invites us to reconnect with the world without judging it in order to understand it, and then to give free rein to lean on the side of the scale that one deems opportune and fair.
The foregoing would not have been credible if Marcelo Javier Guaigua and Lémia Boudhiaf had not been fully devoted to their company, whether or not we, the spectators, understood the background of what they were representing. Who knows what other episodes and thoughts have been behind impregnating this piece that is in the middle of a long tour.
Photo: Lourdes de Vicente
LEÏLA KA (France)
YOU’RE THE ONE WE LOVE + TO CUT LOOSE
I would see it as a waste not to put both pieces in dialogue, since those in charge of the programming of the Cádiz en Danza Festival have so arranged. Even so, let it be ahead that, Leïla Ka will have composed You´re the one we love already To cut Lose so that they are independent when it comes to being represented.
That being said, through these two pieces, this French professional staged moments of intimacy for those women who hardly find spaces in which to let their guard down. Which acquires numerous manifestations that go from holding back tears; collapsing when you can’t take it anymore and getting back up by following the inertia of fighting day by day; etc… In To Cut Lose the only thing that could be heard was the breathing of the dancers which, by the way, contributed to this piece showing us a kind of “rhythmic orography”. That is to say: these professionals played with different movements that went to the rhythms that came to coexist at the same time, in such a way that the moments in which they all coincided again were not only magical, but also invited to think that they are many women who are dealing with similar calamities regardless of their country of origin, level of purchasing power, religion, etc.
and just that in You´re the one we love images and dynamics of part of what we had seen in To Cut Lose, makes me bet that it shows us the extra effort that emanating strength entails, even though one is sometimes breaking to pieces inside. Still, in You´re the one we love there was room to go back and even take it with a certain humor, a sign that despite everything its protagonists retain lucidity and some hope that one day everything will be different. Meanwhile, we still have to confront routine and other things that, in one way or another, prevent one’s wounds from healing without first going through “infections.”
At this point, the common thing is to reproduce a series of slogans with which one would accuse the structural problems that fall on each human being, for living in the midst of a cisheteropatriarchal society. But I think that in this case, focusing on the latter would divert our attention and even unintentionally dehumanize those people who have suffered the most. That is to say: there are those who end up blaming the individual at stake for his state, instead of feeling reflected in the image that he is emitting. Of course, one can manage things differently, but this does not exempt anyone from understanding that we all deserve to be seen as people who are trying to handle things from different starting points.
Along these lines, I would draw the structures of both pieces as one spiral. Figure that would not only allow us to go and return to the same point without leaving the conceptual framework in which they are developed; but also, it gives rise to images being alluded to again to broaden their meaning after they are returned to. In parallel, it invites us to think that reading the routine as a cycle that is repeated incessantly is an interpretation that does not make it easier for us to clear our horizons in search of other alternatives.
Without forgetting that both You´re the one we love as To Cut Lose They are works done with rigor, elegance, intelligence, and not least, with a discourse that does not fall into victimism or revenge, since these professionals limited themselves to focusing on how one lives during the transit of living in a suffocating terrain. : It is very disturbing how something so hard to process on an intellectual and emotional level, at the same time, it seems beautiful and monumental to one.
Photo: Lourdes de Vicente
FROM THAT (Basque Country)
UR
First of all, I think this piece would be much better understood if the members of FROM THAT lengthen it to an hour, in such a way that they could inquire more into each of the things to which they allude. I say this more than anything because those desires to share something that they are so fond of and believe in, there comes a point where one as a spectator takes him ahead.
To this same extent, I found it extremely interesting how the members of this Basque company, they managed to find the key to represent the construction of a house that was already being inhabited by a community, since in its corresponding process of putting it on its feet, its inhabitants were already projecting each of the things that they would do there collectively and individually. In this sense, it is when I have the doubt of whether it was necessary to emit each and every one of the words that their interpreters pronounced. I defend that they should have trusted much more in the eloquence of the acts that they executed on stage with rigor and ease. Without forgetting that the synopsis of the piece will always be at hand for all spectators before and after the performance.
I recognize that UR It left me with the most contradictory sensations, and for this reason I do not rule out that this impression that I am conveying to you could change if I saw it one or two more times. Even so, I wanted to record what I would do with what the members of HAATIK have in their hands, because who knows if this can help them to finish this piece flourishing. and believe me that they have everything there is to have so that UR be an unforgettable and precious work.
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