rubio’s ensemble, is a contemporary dance company that was created with the main goal to offer a continuity to professional female dancers over 40 years of age.
We came to the realization that dancers over the age 40 and from that age on, they are still capable to continue actively their career in the field of dance .Their artistic skills, their body knowledge, musicality and capacity for exchange added to their life experiences can contribute to a variety of collectives that can benefit from it, like education and culture at large.
One of our goals, it is to understand the injuries a dancer may have from age 40 on and the associated problems emerging from them.
In that regard, our interest is to organize and offer a series of research workshops on “Dance and Age”, so the company dancers and other field professionals interested on those workshops can undertake them guided by qualified professionals in healing and therapeutic techniques, sports medicine specialists, psychology, etc.
Another objective the company want to provide is directed to the field of ¨social inclusion¨. How will we do this?:
We feel the necessity to apply the artistic processes of creation and the finish production by means workshops as an exchange with other social, educational and scientific projects.
rubio’s ensemble ‘s investigative approach regarding this two main goals, female dancers over 40 and social inclusion converging into an invitation to surrender to our senses, which can lead us not only to beauty but also to physical and emotional fulfillment, to feel fear, confusion, change, madness, surprise, creativity…all of it through those feelings that shape our daily life.
In our investigation about the senses and their possible relation to the feelings, we have discovered a collection of six tapestry dated in the 15th century known as “The Lady and the Unicorn”, dedicated on the senses. In that precise moment, it is when our first project comes alive.
Our work for this new dance creation it is constituted along various investigation lines. On one hand, the senses themselves as main source to acknowledge them and their recognition in their primal meaning. On the other side, the search for the meaning of the senses in the current society.
Do they keep their primary utility for the conservation of the species or, do they have acquired different meanings of social relationship?
We also contemplate a different use of the senses to capture beauty and if the contemplation of ¨the beautiful ¨ brings us pleasure and We are excited by it or it is only an aesthetic issue. Already Plato and Aristotle presented the paradox between objectivity and subjectivity in beauty.
And all of this take place, not only through the language of dance but also of images, texts, music. In the final analysis, a work for curious minds in which every concerned person will take their own place without leaving questions unanswered and in which they will use the senses to search for beauty.
We start from the museum hall where the tapestries are exhibited. A very simple and adaptable space where images will be projected, creating the magic we need.
“ …Without the light there is no space, without space theater doesn’t exist.” (Robert Wilson)
“Hands want to see, eyes want to caress” (Johann Wolfgang Von Goethe)
“The dancer’s ear is in his toes”. (Friedrich Nietzsche)
“All senses, sight included, are extensions of the sense of touch, the senses are but elongations of the skin tissue, and all sensory experiences are ways of touching.” (Juhani Pallasma)
“Open up your senses so none of the beauty which surrounds you is lost” (Pablo Picasso)