Artistic Residence 7

Chin-Chin is a scenic and sound proposal for two bodies: a singer and a DJ, which arises after discovering the new mixtape of the artist La Neni and the DJ set of Sara, under the artistic direction of Cristina. The piece is located at the crossroads between the expanded concert, the sound installation and the performance, channelling the energy of the club to create an intimate, engaging and politically charged experience. The proposal is built from the scenic-sound dialogue between the DJ / Producer Sara and the Singer / Performer Nora, using original musical compositions as the main dramaturgical axis.

“Este himno llevara la palabra euforia” is a celebration with forms of delirium. A universe that unfolds between the real and the dreamlike, exploring the paradox of celebration in the midst of inertia. A creation that coincides with the 30th anniversary of the company. The emotional hangover of an intense experience gives rise to reflection on the expectations and ghosts of mediocrity. Review the truth that has sustained us in the face of the uncomfortable presence of what persists in its wear and tear.

“Between my body and me. Llorona, levame al río” is a contemporary dance piece with live music. A concert for two for one body, a body in which the memory of everything they were and the desire dwells: the desire to be other bodies that are not mine, the desire to dance to my ancestors to understand what moves me today, here and now, between my body and me. We prepare for a rite that could be repeated over and over again, a cyclical movement that is sustained thanks to the pangue, the voice and the body.

An artistic research that projects the future of our society, using key concepts that reflect the transformation of everyday life and individual identities. In a highly developed urban environment, this narrative explores how aesthetic and artistic experiences intertwine with technology, shaping an emerging and different reality.

BRUTIFUL is a transdisciplinary research and reflection project that explores the possible relationships and interactions between movement, drawing and scenic space. It is expressed through light and sound, acting as a tool to capture emotional time.

“Dancing the voice or the primitive iridescence of emotions” is an exploration project that investigates the multiple possibilities of the body to produce sound, through the triptych movement/body/voice. This chapter is part of the choreographic research entitled “The spontaneous solo of enthusiasm” and has the special collaboration of Beñat Achiary, eminent leader of singing in Iparralde, renowned musician, singer and teacher.

What if the body was the scene of an experiment, and said experiment was manifested in the form of questions? – Deborah Hay, Up until now.

This movement seeks to offer answers in the presence of its own impossibility. A movement that, when recognised, is questioned… and persists in the desire to embody that doubt.

A space in which the life story of a recently deceased renowned artist is narrated and revived by her ex-partner. To talk about her is to keep her legacy alive, filling an empty house with details and memories, transforming it into a collage from where to contemplate the world with distance and perspective. Landscapes of life that emerge and vanish like smoke.

A character, in the middle of a trip that may have already lost its meaning, stops next to his belongings. In an instant of silence, an echo of all his experiences breaks into his mind: a love, nightmares, memories, an internal struggle, a desire to continue, a longing to breathe.

This traveller realises that time, like life itself, is constant, but its meaning changes incessantly. He walks supporting the weight of his belongings, afraid to let go of them, although he also feels the need to lighten his burden.

In dance environments, it is common to hear the word “energy”, a term that we clearly understand, but that is difficult to define, analyse and link with other aesthetic aspects of the scenic. This research aims to approach the energetic dimension and its transformative potential by listening to the body and from the body itself.

The regular exercise of this listening, through movement, causes a change in the relationship with the body itself, which ceases to be a simple extension or a container of our mind to experience both as a holistic and integral being.

In the same way, that subtle and deep listening leads us to feel and understand the interconnection between bodies, blurring the barriers that separate us and dissolving all forms of individualism.

Dancing to stillness and silence is dancing to the sounds of the body. Listening multiplies the sounds of the body – I want to listen and multiply my body. Undo the obvious body. I don’t know what to do with it.