There are abundant topics and searches in experimental Spanish dance. As is logical, every proposal, every project, and every investigation brings the unmistakable hallmark of its author and responds to very personal and distinct needs. However, they all share the common traits of being attractive and innovative performances. The following are some of the most noteworthy ones.
The Canarian creator Paula Quintana has developed her own personalised and daring strain of flamenco. Rebirth and elevation of bodies are the axes around which she is building her new trilogy. It begins with Las alegrías [‘The Joys’], a solo of enormous formal beauty close to a choreographic plastic installation. It continues in La carne, a revision of the myth of aheroic female saviour.
Quintana’s close collaborator in this trilogy is the creator, playwright, and curator Javier Cuevas. He also has his own artistic project, Laboratorio de ArtesVivas y Ciudadanía de Tenerife [‘Laboratory for Live Arts and Citizenship in Tenerife’] or (Tenerife LAV), from which he generates multiple activities and develops his own creative proposals. His most recent production Esto que ves tú [‘That Which You See’] is a case in point. It is a creation for street and non-conventional spaces. Once again with Quintana as the performer, it is a celebration of the capacity to compose and design the reality of human life.
Moreover, rather than reduced to the ephemeral immediacy of a play, experimental dance is often characterised by its long-term research.
The Galician choreographer, researcher, and performer Javier Martín is passionate about quantum physics. This is evident from his new research proposal, the latest in a list of more than thirty. In this solo he joins choreography, flesh, and grammar. In the scenic space he interacts with the elements of smoke, carbon, string, and crystal. These enable him to articulate this sensory discourse of great visual potential.
Salud Lopéz also continues along the same lines. This veteran choreographer and gestural researcher is director of her own Sevillian company Octubre Danza. The second part of her project Números/Numbers is dedicated to the profanation of holiness. It received help from Mario el Mago. The process continues in La Babilonia [‘Babylon’], the third part of this exhaustive research led by one of the precursors of the new Andalusian dance.
Abducida [‘Abducted’], in the words of its author, is a dance-flamenco-remix for a single performer, the flamenco dancer and creator Melisa Calero. She has based this proposal on her need to talk about dance as a means of overcoming. She defines herself as versatile, eclectic, and electronic. These elements are the very pillars of her play,althoughshe also deals fleetingly with a phenomenon inherent in all kinds of dance today, the precariousness of circumstances.
The Proyecto Lanza is new in our field of dance, but the driving force behind it, Cristián Martín, is certainly not. He is a veteran and former dancer from the National Ballet of Spain. He is also a close companion of Daniel Doña, who is now accompanying him in this creative adventure called Márgenes[‘Margins’]. This duet is a performance of enormous visual power and it also reflects on the social perception of the body, when the elegant dancer and choreographer appears accompanied on stage by Sandra Carrasco.