Years ago I chose to name myself as a dancer and not as a creator or artist. From the age of three I begin to incorporate (“for better and worse”) the Classical Dance. In 2003 I access the formation of Contemporary Dance in SEAD (Salzburg). Since 2007, I join the spaces of La Poderosa and La Porta in Barcelona and from 2013 to 2016 I am a member of ARTAS, co-managing and co-directing La Poderosa with other artists. I study the Master in Dance Movement Therapy at the UAB. I specialize in children’s clinical practice, and I focus my research on somatic countertransference, relational psychoanalysis, embodiment / enaction and tacit or pre-verbal knowledge. As a dancer I work with Jeremy Wade, Amaia Navascués, Acerina Ramos, Quim Bigas, David Perez, Beatriz Fernandez, Pere Out, Paz Rojo, Diego Gil, Igor Dovricic etc. Since 2015, I deepen the Authentic Movement Discipline and in January 2020 I started training in Body Mind Centering. Since 2018, together with Javier Vaquero Ollero I have developed the expanded work Red Pandereta. I write regularly.
- 2020 · research open call · Bailarinxs sonorxs
ABOUT THE RESEARCH PROJECT IN RESIDENCE:
“… If the dancer began to talk about how the incarnate thing is … I could finally rest easy. Because its existence would start to make some sense. I could finally understand what is necessary. That, like his neighbor the doctor, the baker and the sweeper, has a vital task to carry out with the people. ”
This artistic research project is born from my status as a dancer, from the fascination that “being and doing a dancer” gives me and the desire to bring them to light, give them a voice, make them sound: talk.
‘Bailarinxs sonorxs’ wants to be a multi-radial, anti-positivist and incarnate project that generates a “potential game space” from where to dream, imagine and do:
– What has been said so far about “dancers”? How was it said? Who said it?
– Sound training practices / rituals from / to dancers: How to give voice to dancers so they can start talking ?, How does a dancer speak?
– How do you “order” this to share it? What practical structures, what contexts, what forms of mediation can occur from this investigation?
And if the “Dance Story” had been written by the dancers, what would it be like?
With the collaboration of: Raúl Marcos Jimenez, Esther Blazquez, David Pérez and Javier Vaquero..