2023-06-26 00:46:46
He Zaragoza History Center once again hosted the Trayectos Festival to carry out a day that mixed celebration and desire to continue filling the city of Zaragoza with more dance.
Photo: Mimoi
No Man`s Land. Ecuador-Tunisia
I left with your name
Choreography and performance: Marcelo Javier Guaigua and Lèmia Boudhiaf.
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 Lèmia 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 Lèmia Boudhiaf had not been fully delivered 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: Mimoi
Peerless Collective. Andalusia
Siam effect
Choreography and interpretation: Lara Miso and Wilma Puentes
Siam effect it is a work where its counterpoints are manifested in the changes of postures and ways of interacting between its interpreters. Thus, their bodies are the vehicle through which these professionals try to develop their discourse around the idea of two people who are intimately united, to the point that when they are making physical contact, it is nothing more than an explicitation of the bond that defines them. intrinsically.
However, Siam effect it demands that its viewers adapt to its rhythm and cadence, since it is not something that expects complacency or accountability to any trend. Of course, at some point it may turn out to be a flat work that could go further in terms of seeking a greater variety of corporalities and qualities of movement, but perhaps this responds to a certain impatience and feeling that “something is missing”. ”, because one has not finished getting fully involved in what they are displaying on stage Lara Miso and Wilma Puentes.
And it is precisely at this type of situation that a dialogue emerges between the performers and their spectators on topics that one did not anticipate as a spectator, to the extent that one does not usually go to “learn” when going to see a stage piece. Of course, if one looks back, he verifies the keys he has collected from thinking and problematizing what he has witnessed, but this seems untimely to say the least. So, at what point does the viewer have to agree to receive everything that makes up the piece in play? How to check where the interpreters have to make content that is already clear “comfortable to read”? Be that as it may, everything seems to indicate that interpreting a piece also involves going beyond what is intended to be transmitted with it. Having said the above, I would leave in suspension the qualification of a universalizable way, how good is this work.
Still, I have to point out that Lara Miso and Wilma Puentes They have set up a piece in which their costumes dispersonified them, insofar as their extra everyday nature contributed to one being abstracted and perceiving two masses of colors regenerating through space. Of course, this work gives room to read things that we deal with in our day to day, plus this would correspond to the fact that These professionals have allowed their viewers to attend the show that best suits the reality of each individual. Which is very beautiful and fertile in possibilities.
Photo: Mimoi
Sandra Macià. Catalonia
Human 21
Performers: Sandra Valls and David Consuegra.
As soon as he broke into our lives the COVID-19 pandemic In the spring of 2020, I discussed with some friends that this was World War II for our generation. Not only because many of us did not expect the virus to spread throughout the world and that we would be confined to our places of residence for months maintaining uncertainty as a constant; but also, it has been something so decisive in a very concentrated space of time, that today, it is difficult to quantify its effects in all areas.
In this line, Sandra Valls and David Segura They have put together a piece that has allowed them to dwell fully on what they have experienced and what awaits them as a result. An exercise that many would prefer to “let go of and devote themselves to other matters”, and others, let’s say, do not miss the opportunity to address a topic that has “splashed” us all to a greater or lesser extent. However, Human 21 It is a work that starts from the humility of wanting to delve into the implications of this experience through dance, since a time has come when verbalizing it makes us go around in circles and circles around the same place. That is to say: no matter how much we collect more data and reflections from specialized people or more first-person testimonies, this does not imply that one can truly understand what one, personally, has gone through.
For this and more things, these professionals opted for a simple and effective structure, when disposing and recognizing the contents in which they entered. And even with everything, they had the insight to give volume to this piece through their interpretation. In the sense that whatever stage they were representing, these things are always lived with ups and downs, even sometimes without knowing how to react. The foregoing is most intuitive, therefore, otherwise, how is it possible to mentalize/prepare for such an event, even though one has learned to know its background?
Definitely, Human 21 I thought it was a good piece of work that, in one way or another, is one more symptom of how the performing arts have manifested themselves in relation to an individual and collective experience. Enabling future historians, sociologists or philosophers to have “samples” with which to adjust the type of questions we should ask ourselves in this regard.
Photo: Mimoi
Collective Banquet. Madrid’s community
Red Red Green
Choreography and interpretation: Jerónimo Ruiz, Javier de la Asunción and Laura García Carrasco
When I saw this work last year in the twentieth edition of the Cádiz Dance Festival, I drew the conclusion that the members of this Madrid company had sown a small seed that, it is a matter of time, before it leads them to undertake great things in the medium and long term. A sign of this is that this time I have found a more rounded and consistent work in every way. That is: let it remain that they have only put into operation in a very intelligent way and with a crazy sense of humor, a series of structures that represent how we have mechanized the ways of relating to our fellow men and with ourselves, at the expense of constitute a more “efficient” and “prosperous” society.
On the other hand, the forcefulness and rigor with which they carried out each of their actions is impactful, since they will be sure that if they do not take their commitment seriously, the public will not: they will see something more or less well fitted in a certain way. shape. And no, these are only the foundations of a work that plays with the predictable and the unpredictable, with the ridiculous and the tragic, with different heights, movement qualities and speeds… Thus, Red Red Green It is outlined as the result of linking images and movement dynamics that, although these professionals have not intended it, it is very tempting to extract from the same themes and ideas as someone who associates the shapes of clouds with things from our daily lives. Which is as funny as it is disturbing.
In short, it is convenient to keep track of these stupendous professionals, who are close to consummating a very promising generational change within contemporary dance in Spain.
Photo: Mimoi
COB Opera Ballet Company. Italia
Behind You
Choreography: Alexander Bolognino Performers: Sofia Galvan and Gaia Mondini
From time to time it is very pleasant and advisable to decide, as a spectator, leave your mind blank to enjoy a job; even more so if possible, if it lends itself to merely formal readings. That is to say: regardless of how one positions oneself with regard to what is being represented, one must never forget that the work at stake is supported by a background and certain contents that are more or less present in its synopsis. And if this is added to the fact that the performers are communicating a specific message is not going to be “suspended”, then its semantics are filtered by the viewer, or else the structure of the piece transports us to a sensory experience.
Behind You it is so well staged that the value of its performers is what elevates it, since it is one of those works that is very easy to remain in the “fantasies” of any choreographer’s head: His sense of scenic rhythm; his scores of movements that appear and disappear, incessantly, as if it were the chorus of a pop song; the emotion expressed by the eyes of two performers devoted to something that makes them shine, while challenging them to bring out the best version of themselves; the elegance and security with which each of their movements are executed; etc.…, There are several of the things that make this piece unappealable in terms of its artistic quality.. Another issue is that it connects more or less with its themes and ways of presenting it, another thing is that excellence is a means, not a guarantee that one will leave “euphoric” and feeling totally privileged.
One of the good things about the plurality of contemporary dance creations is that the most stylized/academic is gradually resignifying, by being surrounded by works whose broadcasts remain elsewhere, starting with the fact that they have been losing their artistic/discursive hegemony. Given that the paradigm in which we have been operating for a few decades, has shifted to a terrain in which there is no nucleus, neither above nor below. Honestly, I do not dare to describe its current state, but it does not imply that we must continue to value works that are consistent with those traditions, to the point of encouraging us all to move forward together.
The samples of the Laboratory of Dance and New Media of the XX edition of the Trayectos Festival, displayed more precedents on the fact that in dance there is much more than a communicative act
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