ESPAÑA
DANZA MOBILE
Integrated dance has had special importance in Spain and been shown at numerous cultural events. In Seville, the work of Danza Mobile has become the benchmark for this art form. More than just a company, it is a centre of creation, teaching, marketing and broadcast, which has been developing various projects since 2001. This professional group stands out in the sense that artists both with and without disabilities go on stage together. Their work is supported by acknowledged creators, as is seen in El festín de los cuerpos [The Feast of the Bodies]. For this production they have received support for choreography and dance by Manuel Cañadas, Ana Erdozain and Arturo Parrilla, as well as texts by playwright Antonio Álamo.
It clearly provides a direct and provocative approach when it comes to understanding contemporary dance with the different qualities of movement and thinking of dancers with different abilities and disabilities Defend freedom of thought, gender, and sexuality through classical poetry mixed with a natural sense of humor. It stirs the public with the sensual and sensory banquet of desire in the mixture of beings that are not different in any way and whose desire to meet and touch and “love” each other makes them a single being
PROJECT Danza Mobile
EMAIL distribucion@danzamobile.es
TRINARIO: CUERPOS RESONANTES
This dance production project that arises as a result of the efforts and artistic motivations between the dancers and creators Cristóbal Santa María (Concepción) and Miquel Barcelona (Catalunya), through a 4-month scenic research process that begins virtually between both poles that would continue in person in Barcelona. The thematic axis of this proposal has as its starting point the story about the bodies that resonate from different latitudes and territories, from a corporal dramaturgy that is intertwined in situations such as the construction of identity, the place of origin and migration. The treatment of these creative concerns led to reclaiming presence as a place of meaning creation, rethinking choreographic research processes, adapting the work methodology with the possibilities that the pandemic introduced. The initial stage of creation has received the help of the Iberescena fund, and support from artists and artistic institutions such as LOS DEDAE and its LSD in Movement program (Alcalá de Henares), Sortutakoak 2021 Dantzagunea (Basque Country) and Cía. Michael Barcelona. After a year, this project has taken on new forms and an evolution of the stage proposal, for which new residency processes have been generated in FiráTárrega, Eima in Mallorca, Rocahumbert in Granollers and presentations at the Fitlo Festival in Logroño, at the Lleialtat Sentsenca in Barcelona and the official revival of the street piece at FiráTárrega. This project has received the support of the program Support for the Creation of FiráTárrega and DIRAC Directorate of Cultural Affairs of the Ministry of Foreign Affairs of Chile and performing arts fund of the ministry of culture, arts and heritage of Chile.
To enter the Iberian cultural circuit, enabling future seasons and the circulation of works throughout the territory and the European community. To present the scenic work resulting from the artistic collaboration between artists from Chile-Catalonia with professional, contingent and updated proposals. Generate and promote new collaborative support networks through meetings with cultural agents, professional circuits and performing arts festivals.
PROJECT Proyecto Resonante
EMAIL cristobalsantamariacea@gmail.com
TABÚ
Tabú To seem without imitating, to appear without forgetting. Carnivalesque stage of life, weight of appearance and implacable judgement of aspects. What woman were you? What woman are you? Appearance as a possibility for the future. August 2020. We are in the centre of Allariz, specifically at the crossroads between the streets of La Cruz and Fonteiriña. In front of us, a striking photograph dated 1925 and by Manuel Riesco. In it, a group of women, dressed in the uniforms of two football teams: Arnoya de Allariz and Celanova, with a defiant and serious attitude, in the belle époque style, under the caption “Women’s football team on the old Vilanova pitch”. Apparently, we were before the first record of a pioneering futfem team, a black and white image, belonging to the Municipal Archive of Allariz, where these 12 women appear dressed in football uniform posing in formation. The image seems immensely beautiful and it is hard to stop thinking about the history that must lie behind it: Who were these women? What became of them? What happened in that match? Are they pioneers? Faced with these questions, we begin – with no turning back – an immersion into the curiosities of these feminised and as yet undiscovered journeys of life.
TABÚ is a work that honours the land and the people who live, work and feel the countryside. TABÚ highlights the organicity of the bodies, the aesthetic images and the figure of the woman. TABÚ is committed to the creation of new languages inspired by tradition and the ancestral world.
PROJECT Colectivo Glovo
EMAIL colectivoglovo@gmail.com
FOGAR
Fogar is a sound installation in which three performers, through music and dance, create the dreamlike atmosphere of a bygone era. A piece about the roots, the ones that cannot be seen, the ones we miss or once had to cut down in order to move forward. Fogar is also a conversation between love and the snub to what we were; belonging, the search for individual freedom, who we are without influences. A constant memory, ramified and indecipherable. A recurring thought that never leaves us.
This is an open show of the piece to have feedback form the public WATCH HERE
In the first place, this piece experiments with dance from another place, it dialogues with live music, and we think it´s a different way of observing dance. Also, we make live music with a looper, a piano and our voices so it´s not only a dance piece, we offer an atmosphere that talks about home, about memory. We want to make the public feel inside of this atmosphere, make them feel at home throught our music and our movement. We can give a diferent way of expose a piece, enriching the progmam. The piece has no text, so it doesn´t matter the place where we are, everyone can understand what we are talking about because we work only with sensations, we talk from a universal language. Finally, been honest, it would be an amazing oportunity for us to show our work. One of the performers of our piece works a lot with iberoamerican artists so we would be very happy to can bring our work here.
ARTISTIC COMPANY cía. SÖA
EMAIL compania.soa@gmail.com
BLOODY MARY
Bloody Mary it is a dance theatre piece. Bloody Mary is a choreographic story, that’s how I like to refer to this piece. It is not so much about dancing a story as about juxtaposing two forms and making them dialogue with each other. The story is… that of Snow White, or rather, a perverse rewriting of it that helps us reflect on how gender roles play against our relationships, how they are marked from the social rather than from our authentic nature, separating us more than approaching us.
We believe it’s a necessary work that explores the complexity of our relationships. for its radical aesthetics and its disturbing atmosphere, for the interesting mix of languages, it may not be the latest fashion but perhaps for that reason, it is even more attractive.
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ARTISTIC COMPANY La Permannete
EMAIL papalomadiaz@yahoo.es
BLOODY MARY
Bloody Mary it is a dance theatre piece. Bloody Mary is a choreographic story, that’s how I like to refer to this piece. It is not so much about dancing a story as about juxtaposing two forms and making them dialogue with each other. The story is… that of Snow White, or rather, a perverse rewriting of it that helps us reflect on how gender roles play against our relationships, how they are marked from the social rather than from our authentic nature, separating us more than approaching us.
We believe it’s a necessary work that explores the complexity of our relationships. for its radical aesthetics and its disturbing atmosphere, for the interesting mix of languages, it may not be the latest fashion but perhaps for that reason, it is even more attractive.
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ARTISTIC COMPANY La Permannete
EMAIL papalomadiaz@yahoo.es
HISTORIA NATURAL
The staging Historia Natural, has to do with the transmutation of the performer from his human state to his animal state and to his most basic condition as a living organism, carrying out a carnal exploration towards an understanding of the evolution of our species. The work goes in search of a bodily state that accounts for an ancestral memory that we carry with us, installing the possibility of deculturalising our movements, gestures, postures, in short, the presence of ‘the human’. My interest from the field of dance is the possibility of making a bio-utilization of the body, a channeling towards the most primitive memories; transferring those memories to a performative, aesthetic and sensorial experience that allows us to see how the performers have delved and raised a body language emerged from the exploration and study of the evolution from their own subjectivity. The audience will be able to participate in the process of transmutation of the performers, a process that will seek to sensitize us to bring us back to the basis that we are animals and that we are part of a complex ecosystem and interspecies.
Historia Natural is a play that proposes a theme that is relevant to this time of digital revolution, in which it is interesting to re-install the reflection on the beginning of life in our evolutionary process, visiting from fiction, a story embodied in our cells, known from science books, and re-signified by a multi-generational cast who delightfully interpret this story of 3.5 billion years in 50 minutes. Historia Natural, in its seasons in Chile, was very well received by audiences. It received good reviews from peers and very interesting views from audiences of different ages. It has inspired reflections on its content and staging, which have made Historia Natural a detonating, entertaining and beautiful piece. Due to the pandemic, the play’s circulation and distribution plan was halted, so it has been presented less than expected. This work has a first class team, a very interesting authorial look, is well received by audiences, has a timeless content, elements that make it an attractive piece to keep active and open scenarios so that it can be seen and shared with more people in different territories.
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ARTIST Matilde Amigo Fernández
EMAIL matildeamigo@gmail.com
R.A.V.E.
R.A.V.E. [Revolutionary Agglomeration for Voluntary Extermination] What if the theater were a space between heaven and earth, between the past and the future? What would happen if that place was populated, at the same time, by memories of when humans were not disconnected from nature and by the current prophecies of the end of the world? In R.A.V.E., Cecilia Colacrai is alone on stage, trying to investigate our preservation instinct through gesture. From an intense relationship with sound vibration, she evokes primitiveness to unfold a variety of physical states. Demonstrating extraordinary plasticity and the ability to resist, Cecilia transforms over and over again, pushing her body to the limit. In that indefinite space, she does not speak about herself, but through her body, about the finitude and the future of our species. Here, dance is presented as a trigger for fiction, offering a language that allows us to transport ourselves and imagine forms of life beyond the walls of the theater.
In a time of such acceleration, like ours, reflecting on our perception of time is extremely necessary. By opening hypotheses about the future, opens them also about the beginnings… “I am interested in political art, that is, an art of ambiguity, contradiction, incomplete gestures and uncertain endings” [“Drawings for Projection”, William Kentridge]
ARTIST Cecilia Colacrai
EMAIL ceciliacolacrai@gmail.com
CAER EN TI
Caer en ti. This proposal for collective creation is between two existing MOVE projects: Memoria Conectiva (seniors) and Abriles (teenagers and young adults). It began as an investigation into the influence of technology 4.0 on current social relations. The pandemic prompted the search for communication beyond technological devices. Throughout the process the two groups investigated through dance and music the difference between being communicated and connected, rituals, social networks and boundaries beyond the given context. Caer en Ti is a reflection of their concerns as individuals, as human beings and as a group. It is the journey towards a place to connect in times where pandemics rule and to cross the barriers that a priori the age difference may imply.
It highlights the value of the elderly through the parameters related to life experience, the mind-body relationship and emotional management as intrinsic human values. It presents an artistic creation created jointly by people from 6 to 100 years old. It confirms the impact of artistic processes as a tool for the transformation of a community, the improvement of coexistence and social impact.
PROJECT MOVE arte para todos
EMAIL contacto@movearteparatodos.com
DEVÓRATE
This performance was created to deteriorate itself in 450 years on the large share of Pacific garbage, where the future was swallowed by the plastic. As humans’ wastage, a woman was transformed into a digital worker after the crisis of representation. She eats herself in search of the pleasure of a collective body, something that was lost long time ago. ‘Impressive work of Mari Paula with her own body as a canvas of experimentation, […] to suffer herself the digestion of the plastic monster and to be expelled from paradise due to the deceitful technological development’. Pilar Jódar Peinado (Member and Research Award of the Spanish Academy of Performing Arts)
Support: Cultural Foundation of Curitiba, 2019 Iberescena and Funarte – Brazil and EBANX Brazilian artist living in Spain. In 2017, Mari Paula received the Funarte Klauss Vianna Award (National Arts Foundation, Brazil
ARTIST Mariana De Paula Ferreira
EMAIL contactomaripaula@gmail.com
DEVÓRATE
“The natural selection of recent society is human obtuseness.” With this premise, Fritsch Company creates the choreographic piece Programmed Obsolescence. The measure of time; horology of materials, gadgets, and apparatus, generates a compulsive consumption as a new synthetic drug; a slave society of waste, promoting a continuous impulse to purchase. The tyranny of products with a planned expiration date. Programmed Obsolescence. is the result of an investigation project and collective creation of Fritsch Company, working with new materials that could generate a declining atmosphere. This is also shown in the scene, as it suffers a decadence process.
It is important to bet on inclusive dance within the professional dance sector. Bet on the inclusion and professionalization of dancers with disabilities.
ARTISTIC COMPANY Fritsch Company
EMAIL espectaculos@psicoballetmaiteleon.org
ACPDC
The ACPDC works to encourage the dissemination, promotion and empowerment of dance in general and the development of activities that can contribute to the improvement and professionalization of the sector.
We are representatives of the dance company sector in Catalonia. We work to improve the dance sector, both in Catalonia and in Spain (in this case, we belong to a Federation called FAETEDA). Some of our main objectives are the professionalization of the sector and the creation of new circuits for dance.
ASSOCIATION Association of Professional Dance Companies of Catalonia (ACPDC
EMAIL associacio@companyiesdansa.info
GEOMETRÍA
Geometría is a dance show with surprising 3D projections that takes as its starting point one of the most ancient sciences of humanity: geometry. Geometry is present in many different ways in the arts, from plastics arts to the movement of dancers drawing geometrical figures in space to music writing and even the geometric shapes that sound produces in materials. Through music, dance, and image, this show interprets Geometry in a way that will immerse the audience in a mysterious world of geometric forms. By using the 3D projections and glasses given out by the company, they will be able to play with geometric figures in an unforgettable experience.
It is an innovative proposal in the sense of showing how one of the oldest sciences of humanity, Geometry, is closely related to dance and the rest of the artistic disciplines involved. It is also a proposal that makes the spectator an active participant in an immersive experience.
ARTISTIC COMPANY Roseland
EMAIL asilvia@roselandmusical.com
DOS PROPOCISIONES
During 22 years Dos Propocisiones has worked uninterruptedly at the local, national and international level , forming part of the programming of numerous national and international festivals (New york, Vietnam, China, Seoul, Italy, Prague, Venezuela, Cuba, Marroc, Canada) and scenic circuits, as well as being awarded by the Association of Dance Professionals in Andalusia (PAD) , Seville Scenarios Awards, among others.
We develop our work internationally We are a establish awarded company. We are an Iberoamerican contemporary dance company.
ARTISTIC COMPANY 2proposiciones danza teatro
EMAIL raquelramirezmadrid@gmail.com
AFRICA MOMENT
Africa Moment offers distribution, training, consultancy and curating services for theatres, festivals, foundations and public institutions across Europe, Africa and Latin America. Provokes spaces for creation and thinking through the body, by placing right at the centre a roster of artists with pioneering practices and proposes unexplored imaginaries. Organises the International Live Arts Gathering AFRICA MOMENT, with its 6th edition AM22 to be celebrated 21 nov. to 14 dec. 2022 in the cities of Barcelona, Terrassa and Online
Africa Moment is the first Spanish platform to promote for the first time in Spain contemporary hight-class and avant-garde artists from the African continent and its diaspora in Latin America and Europe with a non eurocentric, decolonial and gender approach. Our project is endorsed by municipal, autonomic and national key entities in the arts and culture field, as well as international organisations and international cultural diplomacy bodies. Our works have been awarded by the Catalan Performing Arts Critique in the last 3 consecutive years for premieres we have presented in Spain. We have become a benchmark platform for production, residencies, distribution at an international level. We are transforming the performing arts sector in a transversal way – involving public institutions, exhibition venues and training centres – towards cultural diversity and inclusion, and breaking folkloric and exotized cliches on contemporary non Eurocentric creation.
PROJECT Africa Moment
EMAIL hola@africamoment.org
THE WATCHING MACHINE
The watching machine was the name given to those 19th century objects that created illusions through mirrors and shutters. In the piece The Watching Machine the machine is the stage box itself. Inside there we play with light, shadows and reflections to experience what is illusion, what is representation and what is theatrical convention. A piece composed of small installations where light and shadows are fictionalized through optical illusions. A piece for all audiences.
I think it can provide another way of understanding dance. A choreographic work that is modified through objects and optical illusions created through small installations. A work about space that is transformed by light, the occupation of objects and the performer’s own body.
ARTIST Macarena Recuerda Shepherd
EMAIL info.macarenarecuerda@gmail.com
WARM UP
In a post-pandemic time, at a time in history when the effects of climate change are irreversible, there is asocial ballroom, an Argentinean milonga playing, where three faceless and decked out characters findthemselves trapped in a dream flooded with nostalgia
First of all, LaCerda has a consolidate artistic profile, that is the result of 9 years of escenic investigation and creation around the practice of ritual and the concep of identity. LaCerda has build its own artistic univers and movement language from their latinamerican roots, their migrant experience and their european recidency. In second place, Dolorosa de los Llanos, the piece we want to present at Tanzmesse, is the cristalization of all these previous work and a particular expression of LaCerda’s aesthitics and poetics. Moreover, we think that these aesthetic and escenic research can be interesting for an european public, therefore european events and institutions. Finally, LaCerda is in a very interesting moment of its career and evolution. After presenting Dolorosa de los Llanos at Sala Hiroshima, some doors start to be opened for the company, in Barcelona but also in Latinamerica. The company has arouse the interes of diferent festivals such as Festival de Otoño in Madrid (Spain) and Danza en la Ciudad in Bogotá (Colombia) or theaters such GAM of Chile and some other local and international festivals and institutions.
ARTISTIC COMPANY LaCerda
EMAIL lacerdadanza@gmail.com
SINESTESIA
Sinestesia piece is a scenic composition to feel, cross uni-sensory barriers and transport us to an experience that refocuses the stage space in a more open and interactive way. Thus, to propose the Apocalypse as a scenario where the idea of gender/age is blurred and to observe different encounters between individuals, who, through experience over time, end up understanding that cooperation is the first motor of movement to get out of difficulties.
The connection with the young public who will be our future consumers of performing arts. For the worldwide trajectory in different types of market. And for their action or social work when it comes to acting in marginal environments.
ARTISTIC COMPANY Iron Skulls Co
EMAIL ironskullsco@gmail.com
THE MOON IN A POT (A MISUNDERSTOOD SHOW)
The moon in a pot (a misunderstood show): Live music, dance, theatre and technology come together in this delicate and intense proposal. The moon in a pot (a misunderstood show) is a trip through the deepest emotional corners of a moon in constant search for its essence. A song to optimism aimed at all audiences – also for babies and young children – with a bid to find new forms of interaction with the viewers that so define the language of La petita malumaluga.
Bob Marley for babies: Four singing dancers, or four dancing singers, and a cellist perform sophisticated vocal arrangements of the greatest hits by Bob Marley. An explosion of energy sung and danced where the audience – seated inside an immersive 360-degree scenography – is the protagonist at all times.
La petita malumaluga is an internationally acclaimed company of world-class dancers and musicians aiming to offer non-childish and contemporary productions for babies, toddlers and their families. “The moon in a pot” has been selected by the Official Programming of one of the most relevant professional meetings for performing arts, which will take place in Canada in autumn. “The moon in a pot” will be touring US in November, including Lincoln Center (New York)
ARTISTIC COMPANY La petita malumaluga
EMAIL office@lapetita.cat
BLACKBIRD
Inspired by the song by Nina Simone, ‘Blackbird‘ is a work created and directed by award-winning artist Marco Motta, and performed by himself along with Yeison Moreno, Darío Santamaría and André Edipo, in which circus, acrobatics, contortionism, the Afro dances and musical styles such as Cuban jazz come together in a unique and explosive show, with a strong anti-establishment political discourse that shakes the current panorama of circus arts.
Marco Motta is a unique multidisciplianary artist in the field, he is a key Afrodescendant artist in the circus scene. His work is unique in the sense that he is reshifting the codes of circus arts, subverting them and using them to convey messages of political denounce He has an Afrocentred perspective to creation and to circus, a singular one at an international level.
ARTIST Marco Motta
EMAIL hola@africamoment.org
BLACKBIRD
Black is the new production by Oulouy will have its world premiere on 14 December 2022 at Teatre Principal de Terrssa as part of VI International Live Arts Gathering AM22
Oulouy is a one of a kind and key artist in the current landscape of urban dance. He is now a role model for afrodescendant dancers in the Spanish and EU scene His work emanates from the key urban dances of the African context, taken to contemporary aesthetics and stage work, while transforming imaginaries on contemporary creation in the continent.
ARTIST Oulouy
EMAIL hola@africamoment.org
BLACKBIRD
Pina Bausch Fellow of the Pina Bausch Foundation. Will participate at ‘Meet the fellows’ at Wuppertal on Tanzmesse’s pre days program. EU premiere of her new work ‘Kolochi Baw‘, produced by Fari Foni Waati and with the support of Pina Bausch Foundation. 2nd December 2022 at Mercat de les Flors
She is now a Pina Bausch Fellow, first Spanish choreographer in history to receive such award. She has an avantgarde and powerful career with very unique creative processes in the Iberoamerican context. Aïda Colmenero Dïaz is a key figure in the triangle Europe – Latin America – Africa as for performing arts.
ARTIST Aïda Colmenero Dïaz
EMAIL hola@africamoment.org
BLACKBIRD
Pina Bausch Fellow of the Pina Bausch Foundation. Will participate at ‘Meet the fellows’ at Wuppertal on Tanzmesse’s pre days program. EU premiere of her new work ‘Kolochi Baw‘, produced by Fari Foni Waati and with the support of Pina Bausch Foundation. 2nd December 2022 at Mercat de les Flors
She is now a Pina Bausch Fellow, first Spanish choreographer in history to receive such award. She has an avantgarde and powerful career with very unique creative processes in the Iberoamerican context. Aïda Colmenero Dïaz is a key figure in the triangle Europe – Latin America – Africa as for performing arts.
ARTIST Aïda Colmenero Dïaz
EMAIL hola@africamoment.org