Dancing at the borders
- You have to be brave to cry. At least to cry to the public. In the face of a piece that does, you have to be like a shoe in order not to get excited. Although what is happening is not easy to understand or enjoyable.
We move from one room to another completely ambushed by aesthetic pleasure. We seek to get excited by kindness. A good melody, a nice movement. In all architectures you can find beauty. The Soviets knew it and the DAPA also know it, admiring the architecture of Bidebieta and Pasaia.
Without waiting back to the times of brutalism, finding comfort in honest experiments is not difficult. I mean, sometimes there are those who propose experimentalism in a very personal context, and it's often conceptual or -- and -- excessively cold. But we're interested in what it touches. This one? Or this? [notes the heart]. At least one of two.
Something created by Manu Gaigne and Jone Amezaga. Once. Somewhere they've touched both of them in the piece. We were going to see a musicated dance, but we met with another proposal. Music without instruments, dance without choreography, theater without script.
Something. Once. Nonagun
Next action:
When: 24 January in
NoN: Tabakalera de San Sebastián
In the October performance in the Niessen room of Errenteria, they have started making music with the body, adding a reverse effect and thinking the other way around. Gaigne has approached Gong, but has not touched as he expected. It has touched the wood, the edges and has stopped palpating keeping pace. Because not playing is also playing.
Jon screams at interrupting the percussions. Based on the relationship between mental illness and the city, the Ruidism movement has mixed through the beverage bocins and cars and birds. And fill the earth with microphones to play with the delay of the feet. And open the room doors to interact with the sounds of the outside. Or to invite someone who hasn't entered. Or someone who hasn't come out.
They left the stage for a couple of minutes. And I thought the piece was still, as the emotions were being managed, I thought, I felt. The importance of nothingness, as he said. And between those reflections, it's over. The old woman's sobs were heard by the banks.
Knowing how to bring experimentalism to experiences is one of the most beautiful things you can ask for in art. Besides talking about intimacy, bring sensations and emotions to the limits. Because the ideas at the borders are more beautiful. This first work by Gaigne and Amezaga has as its sole limit the future. The next session will take place on the 24th day at the Tabakalera de Donostia-San Sebastián. It won't be the same, but surely you won't regret it. If you take it open.
The idea that we in the dance world often repeat is that dance is ephemeral. The Elhuyar dictionary gives as a counterpart to "ephemeral" English: ephemeral, destructive, perishable, ephemeral, ephemeral, perishable, perishable, ilaun. I don't remember who I first read that idea... [+]
Moor Krad
By: Ertza company.
When: 3 October.
Where: In the Muxikebarri room of Getxo.
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Two years later I met the work Moor Krad, in which members of the company Ertza created and premiered the piece. So in 2022, I tried to... [+]
Transmisioa eta dantza taldeetako erreleboa aztertu nahi izan dugu Dantzan Ikasi topaketetan, eta gazte belaunaldiek lan egiteko ereduak ezagutu nahi izan ditugu “Gazteen parte-hartzea euskal dantzan” mahai inguruan: Eder Niño Barakaldoko... [+]
