2023-10-13 00:36:46
After the actions of Creators at the Epicenter On October 12, a colloquium was held with Leticia Gude, Lucia Vazquez, Maria Moguer, Manuela Nogales y Carla Carmonaaround the situation of professional dance women in Spain.
Where not only us, the spectators, had the opportunity to ask questions to those who had danced about their pieces; but also, this gave rise to Manuela Nogales He was illustrating us with figures and data taken from national and international organizations about the precarious situation of the sector. And within it, women are the ones who appear worst off. Something especially striking, given that they are the vast majority. This is the importance of making visible with this type of events that professional women deserve equal treatment in relation to their colleagues, while creating a favorable space to approach what could be several of the factors that have led us to such a situation.
Likewise, the philosophy professor at the University of Seville, Carla Carmona, presented us with a series of parameters to understand how it is possible that this reality is manifesting itself as it does. Which went from pointing out the discredit that dance itself has suffered throughout the history of the West, to the contempt for the testimonies and works of its protagonists. Without a doubt, these types of initiatives help us become aware that the conservation and development of dance is a collective issue. And when one or more of the agents involved do not give their best, the others put their health at stake, motivated by their passion and vocation to serve their profession.
In this case, rather than reproducing the data and several of the things that all these professionals said, added to the impressions that the members of the public shared, I have preferred to record that this has happened (given that, among other things, these data are available to anyone who strives to find them) and that there are people who, although it may seem at first that they are “preaching in the desert”, deep down, they will be those people who will continue leading and training the following generations. . Without further ado, I give way to my comments and reflections on Clinamen, Under the tree and Mare Nostrum:
Photo: Juan Antonio Gámez
Clinamen – Leticia Gude (premiere).
First of all, I consider that Leticia Gude She presented us with a “seed” of a work that is destined to be an exhibition of how she has managed her inner world. Therefore, there were numerous themes and images that were not “shareable.” To the extent that it was very difficult to decipher what exactly this Andalusian professional was alluding to.
At the same time, it is worth remembering that contemporary performing arts provide us with a very broad framework, in which through the abstraction of the final result of the creations at play, contexts emerge in which the logics that govern our daily lives are reconfigured. . What’s more, they reach a point where it is almost irrelevant to put a name to what is happening on stage, in favor of giving it the “turn to speak” to the creator of the piece, without there being any type of impediment for him to express himself as he deems appropriate.
That being said, is anything worth it? Well, as long as its internal logic is consistent, and it is defended with conviction and dedication. So, that’s where there will be some room for us to talk about a play that makes sense to be performed on stage. In the case of Clinamen, I would opt to affirm that it is a piece that is still in the process of assembly and development. And precisely the one that has been represented within the programming of Creators at the Epicenterwill have allowed Leticia Gude to gauge where her journey is going.
Let’s be clear, almost no one is capable of synthesizing such a thing in such a short time, in a premiere and in a few minutes. Since we are talking about a life projectsomething that may have been brewing for a long time in many ways within this professional, or it is possible that Creators at the Epicenter It was what made him dare to address it on stage once and for all. Therefore, I defend that one should not rush when it comes to qualifying the point at which one is today. Clinamen. While, of course, giving support and respect to someone who has the courage to expose themselves in all dimensions.
For now, I will try to pay attention to the progress of this professional who, surely, still has a lot to tell us.
Photo: Juan Antonio Gámez
Under the tree – Lucía Vázquez (premiere)
Already the fruits collected from the joint work between Lucía Vázquez and Miguel Marín Pavón in About Bunny y Further Thought has led these two Andalusian professionals to head towards a horizon where, really, the interdependence between the choreography/original idea with the sound environment is clear. I would even dare to affirm that, with Under the tree The direction and interpretation of Lucía Vázquez have reached a new cycle, where it is perceived that she is not “dancing” to the music of Miguel Marín Pavón, without Lucía Vázquez being in dialogue with Miguel Marín Pavón through it.
It is as if they had “dispensed” with the mother tongue they share, and had embarked on a project whose meeting point between the two professionals involved is dance. That is: just notice that many of Lucía Vázquez’s movements could be part of a more or less complex variation of a contemporary dance class. However, their stage presence and their relationship with music was what gave them meaning, giving them a weight and place in the composition of Under the tree.
Consider that, in no case, a dance piece should be limited to a concatenation of well-executed movements, to represent a theme that is intended to be communicated to an audience; But in reality, whatever is being addressed, music should not be subordinated to interpretation. I invite spectators and stage professionals to try to see if what a performer is dancing in play would fit in the same way with music different from the one chosen, and they will verify that this is being used as a complement, not as something that contribute to unite an entire creation.
And everything that I have highlighted to you came to light talking about trees… This is one of the elements that establish the performing arts in an irreplaceable and unbeatable place, given that something that at first seems trivial (such as talking about trees), or if you prefer, that responds to the inclinations of a minority; He takes over everything in the room. Example of what I’m telling you is the slow cadence of this piecewhere even though there were changes of rhythm and even “soundscapes” (if I may use the expression), one as a spectator felt that everything was arranged to perpetuate the balance with and despite the movement.
Thus, the change manifested itself in a permanent regeneration of the “life cycle” of the tree in this piece. Although this means that this tree is aware of the implications of the passage of time, including its condition of being destined to be part of the Whole in another way. However, the above does not demobilize him, this is at the expense of the possibility that at any moment a new beginning”. And there he will be prepared and versatile to make his own whatever is put in front of him, since in the end, what happens to him is integrated, indissolubly, into himself.
Of course, this piece is enough to comment on and reflect on many more things and watch it dozens of times. Of course, I’m not going to hold back when saying that, It has been one of the best dance works I have seen so far this year 2023because, in short, this piece perfectly expresses what dance is about.
Photo: Juan Antonio Gámez
Our sea – María Moguer (premiere)
I love when artists of any discipline represent “the Mediterranean” without resorting to clichés or “easy jokes.” Well, Maria Moguer has ventured to put together a piece in which he managed to intertwine bridges between the countless cultures that have resided and reside in the Mediterranean Sea. At this point, I would define Our sea as a kind of “constellation”, in which, in one way or another, the entire imaginary of “the Mediterranean” is present, without having to mention each of its cultures: this is what the task of synthesizing is about.
María Moguer took on the challenge of showing different faces of “the Mediterranean”, testing different moods and ways of moving. In such a company, her musical selection was her main ally, because what he did was listen to it and obey it. Inside this music, there is housed an ancient wisdom that, as soon as one feels part of his lineage, will find the necessary answers on how to continue. For this and many more things, I understand that this Andalusian professional has shown signs of honesty and truth with Our sea.
Along these lines, it is worth observing him carefully throughout his professional career. Not only because any day now she will catch us off guard, and even she herself will be surprised by the extent of her talent and the product of her unconditional dedication to dance; but also, in pieces like this is when you see how seriously the creator and performer behind them are taking their work. In the sense that dealing with the theme of “the Mediterranean” in itself is seductive for all viewers. However, she was able to open a small window towards a direction that hopes to be further explored, in which hardly any “maps” (so to speak) have been made of it. I don’t know what will happen to this production, but I do take it for granted that we have all already gained a little with its premiere.
Even so, I would encourage this Andalusian professional not to rule out making a version of more than forty-five minutes of Our sea. That is to say: Although it is true that this version is something solid, it can always be delved deeper, in order to ensure that nothing has been overlooked. It is not going to be that what is an idea that has achieved a good execution, in reality, is a fall short of something that could be spectacular and unforgettable. Where I want to get to, I have the feeling that topics like this lend themselves to one being working on them “all their lives”, or on the contrary, to corresponding to a desire that has been waiting to be attended to for some time. Therefore, it will be up to María Moguer to decide how far she wants to go with all this, and I am convinced that she will be right in whatever she chooses.
#gained #celebration #Creators #Epicenter #ACHTUNG