"20 años de vida dedicado a entender el lenguaje corporal"
EL ARTE DE BAILAR
I will start from the statement that dance is not a luxury, it is a necessity. The art of dancing goes beyond moving the body in a musical rhythm, even with the absence of it. Everything that precedes the word art suggests the knowledge of the trade, mastery of technique and the ability to express something with an aesthetic value. Every day I am surprised by the feeling that I have a lot to learn, for understanding, however I will share with you part of what gently teachers and the dance themselves have given me in the form of words, sensations and intuitions on this page that does not propose Truths, just an approach to her from my perspective, one of many.
If you spent your time to see this video you will have given a great investment, if you also managed to feel it, trying to imagine in your skin you will have had a sublime aesthetic experience, at least I feel that when I see this video. While I see it I am able to feel the contraction of the muscles, the air displaced by the body itself, the sweat, the adrenaline of the presentation, and also the culmination of hours of trial, days and months behind this representation, not to mention of the years of preparation of the dancers' body, the decades of study of the choreographer and the centuries of evolution as a species to reach this.
The body is a vehicle that makes it possible to perform multiple complex operations, some are automatic and "by defaul" come, others, we have to learn them along the way. Although our survival depends on it, we know very little on its functioning, sometimes our information is limited to what they taught us in biology classes, or in some post that we read as curiosity in certain walls of doubtful origin. Even we, the dancers, despite being our working instrument many do not have the most remote idea of how it is configured, how it works.
Behind the visible forms operates the dance of the invisible, and the domain of the intangible allows us to create forms of such beauty that elevates us to spaces reserved for angels and gods. I know that dream exaggerated, but I don't care because I know what I'm talking about, or rather I feel what I talk. Some time ago I practiced Buddhist meditations, and one of the objectives was the cessation of thoughts, or perhaps it would be more correct to say non -identification with them. I recognize that it was not easy, although the proposal was very simple, sitting in silence and focusing on breathing, observing how the air of your body enters and comes out. Every new discipline requires practice, little by little you get the experience, after some time I began to feel small moments of mental silences, where it was only, it was only.
After a while I left Buddhist meditations, not because I don't think they are beneficial, but for a simple echo, they were alien to me. But the feeling were registered in my body and in my mind, and that gave me a point of reference to realize something: when I become the movement, and I am with full attention to them, then there are no thoughts, I am only. Now I pause, I remember a book that I read once, letters to a young dancer of the choreage Maurice Bejart, I sail to find it, here it is, I found it! I share it with you :
Es interesante, quería escribir mis experiencias sobre la danza y me la he pasado citando a otros, y es que eso somos, una mezcla original de muchos contenidos que organizamos y desarrollamos bajo nuestra piel. El conocimiento es aditivo , y sin querer han venido a mi dos referencias claves en mi visión sobre la danza. Los caminos que me llevaron estos impulsos de estos grandes maestros del arte del movimiento me han llevado lejos de ellos, pero conectados a su esencia. El placer estético que me produce el movimiento de Jiri kilyan y las palabras de Maurice Bejart que golpearon en mi diciendome ¡ ves, vas bien !.
Fín de carta # 2 del libro arriba mencionado
La forma que más me ha enseñado es enseñar.
Choreography (my origins)
By chance or destination, my first work was interdisciplinary, and without knowing what my destination in the future would be, the video edition and postproduction I also made them at that time. The main reason was the lack of budget, but another no less important was my desire to create audiovisuals. The work talked about alcoholism, and an alterego in a projection in the back wall described the subjective world of the protagonist, followed a linear narrative and we saw how the main character hanged himself and his subsequent trip (all in video) to a "more" there". At that time I did not have the dimension of what I was doing, it was my intuition taking control. One of the most beautiful sensations that I keep was when in the general essay I projected throughout the wall of the background that "video" that had cost me so much work. He was born unintentionally an obsession within me: the fusion of dance with cinema.
I also remember that I was invited to participate in the First Video-Danza Festival in Ecuador, where I had to present my work, and there was something that differentiated my work from others, in my proposal the video directly intervened in the dancer's actions, and At some point I defended this idea that "for me the videodanza had to have the live dance element." Surely I had great conceptual errors in my appreciation, but a recurring idea was also seen in my way of seeing the show with audiovisuals. Although body cinema emerged ten years later, the sensation was as a seed from my first work, trying to explain with the few tools at that time. It is a revelation for me to know that I have always been influenced by the audiovisual world, which I try to learn something every day and find the most effective way to unite it to dance.