FESTIVAL YUCATÁN ESCÉNICA
The XIII Festival Yucatán Escénica will take place from November 4 to 12, 2022, generating a space for the promotion and dissemination of contemporary dance and scenic expression. Based in the city of Mérida, Yucatán, we have received more than 80 dance companies and professionals. In our thirteenth edition, the Festival will receive 18 companies from Mexico, Brazil, Costa Rica, and Canada who, over 9 days, will offer performances, workshops, and master classes in different spaces of the city such as the Peón Contreras Theater, the Sala de Arte Créssida, Conservatorio de Danza, The Centro Municipal de Danza and the José María Iturralde Traconis Theater in Valladolid.
The Yucatan Scenic Festival is an emblem for the dance community of the region, with international views and panoramas. Not only does it offer a space for all the artists that are part of the event, but it also contributes to many areas that benefit the community and the culture of the State. As a key space for the creators of the performing arts, promoting culture and offering presentations and activities that contribute to the cultural offer of the State. A space for expression is created for artistic groups from different parts of the world, allowing artists to show their creative work, reach new audiences and receive the remuneration their effort deserves. Likewise, it promotes artistic creation through different programs such as Alternate Intimate and Improvisation Nights. It has a great socio-cultural impact, opening the space for questions and answers between the artist and the audience at the end of each presentation. In this, the viewer can interact with the artists, generating a greater awareness of the work they have just witnessed and broadening their panorama of cultural perception. Likewise, each work that is presented during the Festival has an impactful message that allows the public to assimilate it and take it to their daily lives, with culture being a generator of change.
PROJECT Festival Yucatán Escénica
NUEVO ZOOLOGIQUE MEXICANO
The exotic, the different, what bewitches us, the diverse, what catches the eye… is exposed to the eyes of the curious, the powerful, the naive, the perverse, the neophyte, the expert, the citizen. A showcase, a zoo, a device of power where the body of a Mexican folkloric dancer is exhibited, activated and violated by the viewer. The expertise is concentrated and unfolds, the worldview of a territory in a body, through its movement. NUEVO ZOOLOGIQUE MEXICANO It is an Interactive Performance, which reflects on identity, otherness, colonialism and the contemporary folklorization of the subaltern world, through a cross between the Human Zoos (carried out in the 19th century in Europe) and the current Mexican Folk Dance. A work that circulates between performance, dance, theatricality and museum exhibition. NUEVO ZOOLOGIQUE MEXICANO was born within the framework of the “Diploma in Research Practices, Dance, Choreography and Performance ¿Cómo encender un fósforo?” 2017-2018, in Mexico. The performance premieres at the Cultural Center of Spain in Mexico, CCEMx and at the Museo Universitario del Chopo, in May 2018.
The contingency of the themes and reflections that detonate the work: it’s a work that reflects on otherness, diversities, traditions and the exoticisation of the bodies and customs of Latin America, through a cross between Human Zoos and contemporary Mexican folkloric dance. It recalls a somewhat forgotten historical fact: hundreds of people from Latin America were kidnapped to be exhibited in the Universal Fairs and Human Zoos held in 21st century Europe, from which modern European man configured his colonial identity. In this way, Nuevo Zoologique Mexicano proposes a reflection on the colonial practices that are still embedded in us, Latin Americans people. 2. The trajectory and international recognition of the work: NUEVO ZOOLOGIQUE MEXICANO was born within the framework of the “Diploma in Research Practices, Dance, Choreography and Performance ¿Cómo encender un fósforo?” 2017-2018, in Mexico. The performance premieres at the Cultural Center of Spain in Mexico CCEMx and at the Museo Universitario del Chopo, in May 2018, within the framework of the “International Festival of Dance, Choreography and Performance: Encender un Fósforo 2018”. Is part of the programming of “International Festival of young creators in Performing Arts – Encuentro Emergentes 2019”, Seville, Spain. It was part of “Festival de Barrios y Pueblos” of the Secretary of Culture of the Cdmx 2019. In 2021 it was presented in its virtual format within the framework of the festival “FEYENTUN: First virtual festival of Performing Arts of Original Nations / Chile-Mexico”. In 2022 it will be part of the face-to-face programming of the CDMX Theater System, in the Theatre in Public Squares programme . In 2023 he will be part of the programme of “The Prague Quadrennial of Performance Design and Space (PQ)” in the Czech Republic in the curatorial line PQ PERFORMANCE. It has received the following awards: “Circuito Nacional de Artes Escénicas Chapultepec: Danza y Espacios Autogestivos – 2022” “Festivales de Barrios y Pueblos de la Cdmx – 2019” “Direction of the Sistema de Teatros de la Ciudad de México – Performing Arts 2021” 3. Aesthetic proposal of an interdisciplinary and contemporary work: NUEVO ZOOLOGIQUE MEXICANO is a work that brings together various artistic disciplines and helps to look at and experience dance from another place, bringing dance closer to the public through an interactive performance. Nuevo Zoologique Mexicano oscillates between performance, dance, theatricality and museum exhibition. It cannot be pigeonholed into a single scenic device, rather it works as a power device that in its actions generates a crossroads of meanings and allows reflection on the questions installed on all the bodies that circulate there..
ARTISTIC COMPANY Landabur&Cía.
ROBÓTICS + DANCE: We collaborated with LAIDETEC, a Mexican company that develops robots, with whom we created several scenic works and obtained a financing from the SUPPORT PROGRAM FOR PRODUCTION AND RESEARCH IN ART MEDIA, with which we developed research to create a specific robot for a human body in movement and a suit with sensors to generate the robot’s movement.
VR + METAFORMANCE Sorecer 360º it´s an inmersive metaformance that proposes an intimate encounter between 7 virtual women´s performers. This proposal has a several layers of perception, on the one hand the people who will have the VR viewers will experience the inmersive virtual by mobilizaing their body as if where actually present within the plance whitn the dancers, on the other side, the corporalities of the users generated by the virtual experience, become for the public an active part of a metaformance.
TELEMÁTICS + DANCE The project “DENYING THE DISTANCE” was made up of a team of collaborators living in different cities in Mexico, the United States and Spain the research premise it was revealing ourselves as interconnected beings. We work based on the phenomenon of quantum entanglement and develop a suit with sensors (wearable) to connect two bodies located in different parts of the world.
ARTIFICIAL INTELLIGENCE + DANCE EMBOSQUECERSE is a project born from a collaboration between the choreographer Abigail (Mx) Jara and the sound artist Juan Pampín (USA). Created in a MUSSE DC residency at the Center for Digital Art and Experimental Media at the University of Washington in Seattle. We use bracelets (EMG) that measure the electrical activity of the muscles and nerves, programmed by an artificial intelligence neural network with which the sound and multimedia systems are controlled from the bodies of the dancers.
MUSSE DC is a company integrated by dance profesionals certified by the most important institutions in the field at a national scale. We are technological innovation agents in the national contemporary scene. We are linked internationally with prestigious artists and institutions, with whom we have had the chance to collaborate.
ARTIST Musse D.C.
WORK IN PROGRESS. Ecosomatic Artistic Resi(st)(d)ence for Catastrophic Times. creation project in residence. with the Latinoamerican Somatic Front (Paraguay, Argentina, Mexico and Puerto Rico as special guest). Online and live project hosted by Paraguayian Scenic Collective Maino’i. We are four latinoamerican women choreographers and somatic practitioners in our 50´s, composing a 45-minute interactive performance piece, with a semi-open creative structure, with the problem of “the catastrophe”; crossed by personal, artistic,ecosystemic, socioeconomic and cultural aspects of the artists. This will be articulated in a “scenic ritual” that can be replicated in different contexts and territories.
I´m not black, I¨m not white, I don´t belong to the LGBTT Community. I´m a left-handed, 55 old year woman. I belong to the Latinoamerican Somatic Front. We are four women, from different regions of Latinoamerica. Who cares about me? Who cares about us? Maybe you… Now, we have the support of IBERESCENA, a reconizible plattform, to realize the project Tentacles will grow us! Ecosomatic Artistic Resi(st)(d)ence for Catastrophic Times. Why should you select me/us? I have no web page, no prizes, not enough registration of my work. (If you are interested, I ask you for the opportunity to have an interview. Thank you). To be honest, sometimes I haven’t had the means to pay for my basic necessities, much lees to invest in anything that is not the piece itself. Besides, I have consciously counterbalanced the hegemonic dominance of the visual sense that privileges form over experience. In my work I appeal to the 99 senses we have, so a video record may not be representative enough. I/We have developed my work, despite myself, under a low profile, in silence, with low budgets, mysteriously, to be free and not be “killed” by an artistic dynamic – to which I belong- crossed by the neoliberalism, narcopolitics, colonialism, inequities, misogyny which are characteristics of Mexico, shared with Latin America. What do we offer? More than 25 years of experience creating containers where the spectators can have a body, privileging experience over form. More than 25 years approaching the stage from vulnerability with softness, simplicity, silence, love, care, subtleness, humor; under semi-open choreographic strategies that evoke rituality and give corporeity to the spectator so that it is the audience who completes the work. Maybe what I/ we can offer are new ways of making mistakes. We are women, we are optimistic. What is our intention? I/We are not offering anything new, it is something that has been there, but not seen. I/We don´t offer solutions, neither answers. I/We just want to be listened to be seen, touched, meanwhile I/we listen, see and touch.
ARTISTIC COMPANY Laura Ríos
WireFrame* – Nowadays, many of us live in small houses and apartments where we experience a choreographic work without even realizing it. We dance with all the objects around us in a reduced space. *In the 2018 Guillermo Arriaga National Dance Award (INBA-UAM), “WireFrame” by Gervasio Cetto was unanimously awarded the first place title by a jury panel composed of dance personalities with outstanding national and international careers. –
ECO LADO B – How have we changed from the age of action to the age of communication? Where we all talk but no one listens. We feel nostalgic for physical action, but our environment is still communicative. The voice, the breath and the memory allow us to evoke our primary impulses, to create a contemporary ritual with them
Wíinkilil Arte de Defensa (Wíinkilil Defense Art) – In the Mayan cosmogony, Wíinkilil means body-presence, a word that encompasses concepts such as body shape, physical activity, personality and identity. It is what we remember about our loved ones when they die. Wíinkilil Arte de Defensa is a project that explores different choreographic mechanisms to transform traditional Mayan movements into self defense movements. An interdisciplinary work that imagines what the first Mexican defense art would be like. –
Expand our platform to an international network and to present our work to a professional audience such as choreographers, dancers, agencies, representatives, distributors and cultural institutions and therefore to establish contact that in the future may lead to collaborations or joint productions. – We are very excited to share our independent choreographic universes where the most valuable thing is the exchange of knowledge and a healthy loving collaboration. -We are looking to create original and creative contemporary dance proposals in traditional and non conventional spaces that will allow the audience to experience their bodies, the city and the environment like they have never done before.
ARTISTIC COMPANY MákinadT Arte en Movimiento
THE HEAD IS BLUE
This piece is committed to the construction of an atmosphere in space that slows down the gaze and being, caused by action, in a choreography of ephemeral landscapes with plastic materials. The spectators, far from watching a show, create a space of personal activation through silence and contemplation, for a moment, we can coexist together resting the word and attending to other sounds and images, a form with dance, to distend and distract poetically the everyday, with landscapes under construction designed with the rhythms of thought in meditation, abstract thought, ungraspable and transitory. A good event to approach us in a simple way, the good solitude of feeling accompanied, the dance as a link between bodies made of different subjects.
It is a simple piece for touring or replicating elsewhere. The purpose of the piece is to rest the mind and contemplate the construction of plastic landscapes. Like meditation in movement. The technical language of the piece brings to Contemporary Dance an interesting link between concentration, action, and plastic composition.
ARTIST Zuadd Atala
Kumbe is the first result obtained from the practice, investigation, and adaptation made to the culture of “Cumbia” on Monterrey; with the main objective being to open the doors of art to all kinds of public. The accordions, the bandanas, and the steps that are characteristic of the movement make those who live it vibe at the same rhythm, creating in the process a new artistic language on stage; a language that gets the attention of the whole world, and will be there to show it for you.
Cumbia is a movement that has brought benefits to society, especially when it comes to resolving conflicts and giving social representation, that is why when talking about the justification for a project that investigates and generates it, one should talk of the importance of cultural entities in society, and how they allow healthier and more peaceful coexistence among our citizens.
PROJECT Fugite Laboratorio Artístico
THE SIMPLE THING
It is a 50-minute video-dance project created by Claudia Lavista in collaboration with the filmmaker Alexander Dahm (Chile/Mexico), composers Albert Mathias (San Francisco), Luis Miguel Costero and Cristobal Sarmiento (Mexico) with the members of Delfos danza contemporánea company. WATCH HERE
*Project supported by the Support System for Creation and Cultural Projects (SACPC) through the Mexico on Stage program of the Ministry of Culture, and the Institute of Culture, Tourism and Art of Mazatlan.
I have developed artistic, academic and social projects for more than 30 years, both with the Delfos contemporary dance company and the Mazatlan Professional Dance School, as well as independently, having a constant presence in the Iberoamerica and the global dance scene. For more than 30 years I have established work networks that have generated interdisciplinary collaboration projects. I am particularly interested in the exchange of ideas and community work. My work has been presented in 25 countries on 5 continents and I am constantly searching for new creative possibilities.
ARTISTIC COMPANY Delfos Contemporary Dance
Nosotros, Is the story of 4 friends’ “carnales” in a typical Mexican neighborhood. The play is full of spontaneity and the optimistic ability to face our context.
(S)tereo corpus is a work born from reflecting on human relationships and their forms of control and domination in order to maintain peace, harmony, and the aspirations of a contemporary and civilized society.
HORSE[M]EN, the performance reflects how the horse has been used throughout history as an icon of freedom or (with domestication) as an icon of control. It brings to the stage the richness of Mexican sarcastic humor that allows the projection of freedom on stage.
Chantli, performance visually constructed from a scenographic device that creates a dichotomous symbolic universe of inside and outside. Using the term “Chantli”, a word of Nahua origin that allows accounting for the belonging of the individual according to his place of origin to endorse the fraternity in the construction of a society based on respect for humanity.
As a group, we have the ability to connect and generate empathic long-lasting relationships. – We search and visibilize the importance of Mexican traditions and diversity and how they can relate to the rest of the world – We are interested into relate our context with other cultures and contexts.
PROJECT Moving Borders
WHITE FLOWERS (When one can’t cry)
A unipersonal play that depicts the conflicts that appear in a mind and body altered by anxiety, stress and/or depression episodes, taking as reference the term used to describe an illness among the indigenous cultures in México known as “La Tiricia” (the illness of the soul). Based on the texts “La Tiricia”, from Rubén Luengas and “I will braid my sadness”, from Paola Klug, and also in different traditional genders of México like the son jarocho, son huasteco, son arribeño and the chilena, WHITE FLOWERS (When one can’t cry) tells the story of a woman that struggles to understand and overcome this illness that affect her physically, spiritually and mentally. The play is the result of an interdisciplinary work that features renowned mexican artists, gathering the music, lightening, literature, scenography, acting and dance. It is to highlight that some songs of the soundtrack and its lyrics had been composed specifically for this show. Another important feature of the show is its scenic and aesthetic concept which aims to outstand the conventional displayings. In this way, the traditional mexican dance is deployed in all of its expressive force and blends with contemporary dance. Poetry, voice, scenography, lightening and musical notes from mexican traditional music takes the attendant into an introspective trip through sorrow and revival. The play had been endorsed by the National Fund for Culture and Arts (FONCA) and the National Coordination of Dance of the National Institute of Fine Arts (INBA), being premiered in july 2018.  Amidst the indigenous people in Mexico, is told that those who get that illness can’t cry, they lost their appetite, they have nightmares and thoughts of despair and their nose itches. Many can be the causes of those symptoms, but one of the remedies is to collect white flowers and drop them in the river, letting go the flowers and the sadness away. Some others say, that when a woman is sad, the best she can do is to braid its hair so the sadness will be held in a kind of net and it won’t reach the rest of the body.
Choreographic project that starts from traditional dances under a contemporary scenic treatment, away from aesthetics and folkloric and nationalist discourses. -It is a bridge between tradition and scenic creation. It does not seek representation, it is based on ancestral knowledge to give way to contemporary creation. -she generates works that start from tradition, are inserted in the contemporary and whose themes speak of the human being and his emotions; uniting with it, genres, disciplines, audiences and visions. -One-person choreographic project that has the ease of moving around different places.
ARTIST Paula Villaurrutia
KAXÁN (Seeker in the Mayan language)
A contemporary ritual in which two beings that vibrate in connection with the earth through sound and movement, constantly seek an answer to what they cannot explain; that immaterial thing that makes them continue on the path and that is not supported by evidence, but that elevates them in spirit, that which some call faith. Aesthetic and dance proposal. Kaxán explores vibration and sound through the tenabaris (butterfly cocoons) and the feet (zapateado) as a means of connection with the earth and the dream universe as the Mayo Yoreme and Yaki Yoreme indigenous tribes of the states of Sonora and Sinaloa of northern Mexico, in their rituals and festivities in which we have been part as well as “Los Cardenche” songs of Durango and Coahuila which raise their voices and prayers from the human. In this way, the proposal takes elements from indigenous rituals and the contemporary dance movement to create a contemporary ritual and an authentic discourse where the roots and the present time converge, showing an energetic and spiritual connection with the viewer. Kaxán has been presented in urban and unconventional spaces as well as in black boxes and theaters.
We are unique artists, bearers of tradition with a unique vision inherited by our ancestors, which allows us to create authentic scenic languages for the contemporary scene. We believe it is important that these portfolios include proposals that contain an authentic contemporary look at our traditions and Mexican roots. We are interested in sharing through our movement another part of Mexican dance.
ARTISTIC COMPANY La Polaquera Escénica
Origami Tropical: Educational and interactive concert for the whole family. Within Origami Tropical, the stories of 4 characters who share their dreams, interests and ways of learning and knowing the world are sung.
Radio Gorilla is a project committed to children. Their works are built with a community vision. Addresses important issues in a sensitive way to share with the family.
PROJECT Radio Gorila
Rituales: Dance and digital art piece that seeks to envelop the viewer under the idea of an inner journey where to find ourselves.
n+n+n: Physical theater piece that seeks to add. n+n+n we do it together, the sum of actors + public is revealed in the scene. A piece that is born at home from a forced disappearance. Adding results in the urgency of finding those who inhabit the subtraction.
Standing: In a country that oppresses, spirituality and the search for instinct are used as a way to discover one’s own movement. A country where 5 to 6 bodies fall daily. Bodies of women who are violated. A country where believing in someone else is more valuable than believing in oneself. “de Pie” is a solo that looks for the sound of the feet to remember the ground where we are standing. You dance over a country; with all the good and the bad. And no matter how many times one stumbles or how many times we are tripped, we remain standing, rooted in roots that cling to those who rest below us. For all those who advance, those who cross, who left without returning.
n aproximadamente igual a n: If we think of n as a natural number indeterminate it remains true that n can be any of us. A n transiting an asymmetrical world in where to keep hope and simplicity is the best way approach herself.
There is a social commitment in each of the pieces. – They are multidisciplinary pieces created collectively. – Urgent social issues covered.
PROJECT Proyecto enealaene
Lemniskata by Lukas Avendaño is an original production by MOVES in national coproduction with Conjunto Santander and Cultura UDG; and an international coproduction with KAMPNAGEL from Hamburg, Germany. Lemniskata is a scenic installation that blurs genres, turning bodies into a political act that becomes public. A body that declares itself as collective, recovering its place in the territory, and with it, its origin. The woman is a constant presence within the work approached from syncretism and the creative and destructive power of everything that resists a country dominated by necropolitics, exploitation and the disappearance of bodies. Sensitive matter is the beginning of a symbolic framework, in which the acts of feeling, listening and an active look are transferred to dance and performance.
To present a Mexican body of impressive symbolic construction to a professional audience such as choreographers, dancers, agencies, representatives, distributors and cultural institutions.. The portfolio will allow us to share our cosmovisions and traditions of the contemporary imaginary of Mexico represented by Lukas Avendaño, one of the most fascinating multidisciplinary artists of the last decade. Lukas Avendaños is a celebration of what is still considered a transgression, therefore, we feel the need to share our enriching and stimulating journey and experiences with different cultural agents with the intention of promoting inclusion, diversity and social justice.
ARTIST Lukas Avendaño
LINKS (Pass: Moves2022)