PERÚ

CHEERFUL SIDEWALK

Veredita Alegre (Cheerful sidewalk) was created in situ in the public space in Alameda Saenz Peña, in Barranco, Lima. This name comes from the first line of Chabuca Granda’s famous song, which she wrote to her father when she remembered their walks in the city. How secure did she feel beside his dad? How many things have changed -or not- in this century? We present a journey guided by five women, with and without disabilities, of different ages and gender expressions. We take the global experience of confinement to talk about the lack of accessibility in the streets and the insecurity generated by prejudice and harassment towards women who come out of the molds of our society.

It is a representative work about the current situation experienced in the streets by a part of society in South America. It is a trigger to generate dialogue about accessibility and empathy towards people with diverse bodies and gender expressions. It means the possibility of leaving our homes and appropriating public space, awakening our sensory, affective, historical, and collective memory as women when we inhabit the street. It is not a representation of diversity, the cast is diverse and the creator of the parols. – Since its creation, this piece has been designed to be accessible for blind people and deaf people. The experience proposes a route in which the dancers guide the public through their body testimonies. The poetry and beauty of this performance touch the public through a dialogue between the five dancers’ bodies, moving in their own rhythm and the street rhythm. – We consider that this format in public space is ideal for the times that we run in which we socialize again but we still need to take care of a massive concentration of people. We feel that bringing art performances to the streets takes part of society’s emotional rescue time.

ARTISTIC COMPANY Mundana

EMAIL cia.mundana@gmail.com

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CLIMAS DEL ALMA

Climas del alma has been created inspired by a choreographic idea by the Austro-French teacher Trudy Kressel. “Climas” premiered at the Municipal Theater of Lima on October 25, 1962, with Trudy Kressel’s Modern Dance group, music by Marius Constant Choreography, plot, staging and costumes by Trudy Kressel, sets by Eduardo Saco and lighting by Ángel Faverio. From the playbill of that date we obtain: “The anguish, the hope, the mystical, the anger, the laughter, are climates of the soul- like the sun, the storm, the rain, they are in nature”. “CLIMAS DEL ALMA”, danced by the Compañía Danza de la Experiencia, who have made a collective creation based on the original, as a tribute to the teacher Trudy Kressel, who worked in Lima between 1951 and 1971, and will be performed by: Cecilia González (anguish), Rosa Valencia (anger), Maureen Llewellyn-Jones (the mystery) and Armando Barrientos (laughter). This piece has four light lamps on the dancers (light bulbs, hanging, with a cord tied to the switches) will be turned on and off by each dancer, during the development of the choreography, an issue that is remembered for its originality and drama that the elements of light contribute to the choreography.

Today, the dance agents, we have a commitment and responsibility, more in the face of the post-pandemic, for this reason, we will continue dancing with vitality and radiating with total conviction and passion that moving, dancing, vibrating, and love is the powerful transformative tool. of today’s citizens, of our country, and of the planet.

ARTISTIC COMPANY Compañía Danza de la Experiencia

EMAIL danzadelaexperiencia@gmail.com

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EL VUELO DE LA HUMANIDAD

El Vuelo de la Humanidad This work is a free intertpretation in video dance format from the mural that the recognized peruvian painter Rafael Hastings made for the perimeter wall of the National University of Trujillo.

This is a work that values the largest mural in Latin America It was the winner of the “Bicentennial Art” Contest of the Ministry of Culture of Peru. The subject is the assessment of the nature and ancient cultura from Northern Peru

ARTISTIC COMPANY Danza Contemporánea de Trujillo

EMAIL mvicmezal@yahoo.com

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CULTURAL BODIES AND SPACES

Cultural bodies and spaces…through the interaction of real bodies, with a story impregnated they enter into conversation with their landscapes of daily urban or rural life, open or closed. From there, the creation of bodily vocabularies that favor dance or another aesthetic-scenic situation against established vocabularies such as homogenization of bodies and the taste and consumption of spectacle.

It is a representative work about the current situation experienced in the streets by a part of society in South America. It is a trigger to generate dialogue about accessibility and empathy towards people with diverse bodies and gender expressions. It means the possibility of leaving our homes and appropriating public space, awakening our sensory, affective, historical and collective memory as women, when we inhabit the street. It is not a representation of diversity, the cast is diverse and creator of the parols. – Since the creation, this piece has been designed to be accessible for blind people and deaf people. The experience proposes a route in which the dancers guide to the public through their body testimonies. The poetry and beauty of this performance touch the public through a dialogue between the five dancer bodies, moving in their own rhythm and the street rhythm. – We consider that this format in public space is ideal for the times that we run in which we socialize again but we still need to take care of a massive concentration of people. We feel that bringing art performance to the streets takes part of society’s emotional rescue time.

ARTISTIC COMPANY Colectivo Bailarinachos

EMAIL bailarinachos@gmail.com

LINKS