Compañía Nacional de Danza

La Colé Dance Company is an artistic research project of a formative-recreational nature, under the coordination of Laura Kumin from Paso a 2 and Juan Manuel Ramírez from Territorio Social. It works as a platform for scenic creation that connects young people between 16 and 25 years old, with curiosity for the scenic, with emerging choreographers of the national scene and with the Madrid theater scene itself.

It has a more than positive and satisfactory precedent in the artistic-pedagogical project Esto no es un Selfie! which introduces scenic creation and dance to formal education. ENEUS is now in its 5th edition, and both associations are joining forces again in this new adventure which is also framed under the binomial dance-education, or rather, dance-learning.

We start from:

The intention of Territorio Social to participate in the introduction of the creative process from dance and movement as a tool for personal growth in both formal and informal education, as quality leisure, and as an artifact of social cohesion, with special interest in adolescence and youth and the intention of Pasoa2 to serve as an agent of cultural revitalization in supporting emerging and consolidating artists and the formation of new audiences and by the very intention of the young people who have been participating in our projects, They show us that there is a lot of talent that wants to be discovered, trained, conducted, found, tested, and that in the end does not get to be developed due to everyday causes such as lack of vision, lack of opportunities and means, social and gender prejudices, lack of openness to new experiences, among others no less important.

Shouldn’t having a body that moves not be reason enough to dance? Aren’t young people full of energy, full of desire to do, waiting for an opportunity that allows them to prove themselves?In this sense, we see ourselves with the opportunity to promote a young dance company that collaborates in the dissemination and democratization of the arts.
We are looking for a dance by and for teenagers, that manages to express the interests of young people, that is armed with content and uses the body as the main means of representation, reflection and communication. It is a proposal of participative and formative leisure.

Our intention is to propose from our field of action, dance and active scenic creation, a space for growth not only at an artistic level, but also in tune with an artistic practice for the development of people. That it serves as training in intrinsic abilities and skills, dance and stage creation, increasingly necessary in the processes that arise throughout life: the acceptance of new challenges, belonging, collective work, commitment, effort, fun, critical thinking, among many others.

What could dance do with/for young people? and What could young people do with/for dance?

“No time to rage” exposes symbols of different archetypes that interact with each other in a destructive way. It illustrates a phagocytic society where the different is automatically punished. A complex and profound work that shows the loneliness of those capable of seeing reality with more dimensions than the rest of the people.

Set in a pseudo futuristic space and time, the characters coexist indistinctly, combining their present time and their past, to show how they have become executioners when they were once victims, repeating toxic patterns. The arc of action ranges from moral violence to the changes that can occur in the nature of an individual confronted with his environment, from the condemnation of some to the repentance of others, representing in between how each of the characters in the play has become who he is.

This narrative intends to bring to the spectator the idea that identity must be completely liberated from moral judgments driven by society, on any condition of the individual, taking up the philosophical idea of free will as opposed to the coexistence to which a social being must submit.

Director: Eduardo Vallejo Pinto.
Production: Batbox Productions.
Executive Producer: Diego Cavia
Producer: Coqui Nieto
Choreographer: Eduardo Vallejo Pinto
Cast: Yaiza Caro, Delaney Conwey, Michela Lanteri, Mai Matsuki, Javier Monzón, Valentina Pedica, Eduardo Vallejo Pinto.
Coaching: Fran Arraez.
Sound design: Ivan Solano.
Lighting design: Kira Argounova.
Photography: Alba Muriel.
Film direction: Belén Herrera de la Osa.
Graphic Design: Lorena Domínguez

Teatro del Bosque, October 31, 2019.

In a state controlled by power, money and fear, citizens believe they enjoy a freedom they do not actually possess. The way they move, cry, smile and hope no longer belongs to them. Emotion does not exist, there is no place for it. Two people perform their show, twice a day, seven days a week, 365 days a year. Their movements are robotic, mechanical, there is nothing they can control anymore because they control nothing: they have become automatons. The only thing that seems to be able to free them are the memories in which human emotion seems to be discovered through the traditional dance of previous generations that are already gone.

Music: Motoc by Loscil, Hubble by Actress
Dancers: Daniel Navarro Lorenzo and Laura García Aguilera.
Choreography: Daniel Navarro Lorenzo

Biography Dan Lourenço
Daniel Navarro Lorenzo was born in Barcelona. After graduating from the Professional Dance Conservatory of Barcelona, Institut del Teatre in 2010, he has danced with companies such as Frontier Danceland (Singapore), Y-Space (Hong Kong), Nunzio Impellizzeri Dance Company (Switzerland), Simba Dance Ensemble (Norway), Phoenix Dance Theatre (UK), White & Givan (UK), Polish Dance Theatre (Poland), Dantzaz Konpainia (Spain), Compagnie Ballet Júnior Epsedanse (France) among others.

Daniel has worked with choreographers such as Ohad Naharin, Itzik Galili, Jo Strømgren, Lukáš Timulak, Eric Gauthier, Claude Brumachon, Gustavo Ramirez, Shahar Binyamini, Thierry Malandine, Patricia Lent, Errol White, Gabrielle Nankivell, Luke Smiles and others.

Choreographic Awards
-2011, L’Estruch award, LAVA award and finalist of the X Certamen Coreográfico de Burgos-New York.
-2010, 1st prize in the I Choreographic Award Delmar de María Carbonell in Valencia, Spain.

Concept and choreography: Arnau Pérez de la Fuente
Interpretation: Maddi Ruiz De Loizaga, Adrián Manzano y Arnau Pérez
Lighting: Álvaro Estrada
Costumes: Gemma Espinosa
Photography and video: Diego Pérez
Supported by: Compañía nacional de Danza, Centro de Danza Canal, Centro de Danza Zaragoza, Estruch Fábrica de Creación y Pasoa2

Synopsis:
Dance proposal developed and performed by three dancers. The proposal is based on the term Young Blood and through the kinetic generation of the bodies on stage the concept is developed with a certain innovative air in favor of the new generations. Using contemporary dance as a pillar, dynamics and spatial structures are arranged on stage in relation to urban dances due to the vindictive simile with hip hop culture.
Date and place of premiere
November 23, 2019 Teatro del Estruch Fábrica de Creació (Sabadell)

It is conceived as a new contemporary dance creation project of a multidisciplinary nature, in which the language of photography is combined with that of dance. In the first place, the dance project has four possible aspects that are later complemented with the photographic project, so in this dossier the dance line will be developed first.
The Idea of -Touch- is based on the contact between human beings. In it, a study of physical contact between people, how it works and what meaning it has will be carried out. From different guidelines we will develop a choreographic material that finally will be closed and structured generating a piece that shows how the different forms of contact between human beings provide one information or another, we will study how each emotion is drawn in the movement and we will make a journey from the deepest love to the most extreme hatred, through all the intermediate points, both emotionally and movement.

Creepy Crawly outlines a cast of characters who consciously conceal aspects of themselves from those around them. They hide truths of who they are, where they come from and whom they love. They fear shame, rejection, gossip and embarrassment. They whisper stories but never want the story to be about them.
The control in the expression of emotions is one of the first lessons the child must learn. Man must suppress crying, he can not give excessive signs of affection in public, he has to be dominant and, sometimes, even derogatory. Definitely, he must be strong not to resemble the other, who is supposed to be fragile and is the object of derision and contempt.
Thus, an alternative masculinity to the traditional one emerges, which on this occasion is shown not only in the bodies of the people portrayed, who look at the spectator in the eyes without imposture, but also in the point of view as a spectator who, without limiting himself to being a mere voyeur, appears as an active participant in this intimacy.
The piece reflects on the journey towards the acceptance of one self, despite that the common in the society is to change to be part of a group.
Premiered 24 March, 2018 en el Centro Cultural Eduardo Urculo of Madrid.

Choreography and project direction: Jon López
Collaboration in the direction: Martxel Rodriguez
Performers: Martxel Rodriguez, Eduardo Ramirez and Marcos Martincano
Sound space: Anne James Chaton, Mica Levy, M. Ostermeier and Jon López
Lighting designer: David Naranjo
Costume designer: Lola García “Lalola” / Iñaki Cobos

Orimel is a piece of Spanish dance in which we want to show and transmit, mainly, the beauty, aesthetics and character of the Escuela Bolera through different images created by Debussy and Chapí with their music. It will be the figure of the presenter who will give life to these images, offering them to the public while being part of them.
With this piece, the intention is to revitalize the language of the Escuela Bolera choreographically and interpretatively. While remembering its more traditional side, it keeps us in the present day.
Orimel is a bet to squeeze and continue to let grow this language so characteristic, but forgotten, of Spanish dance.

ARTISTIC FILE
Title: Orimel
Choreography: Cristina Cazorla
Premiere: March 30, 2019, Certamen Coreográfico Distrito de Tetuán 2019 held at Centro Cultural Eduardo Úrculo de Madrid
Performers: Cristina Cazorla, Elena Ciruelos, Paula García, Mario García y Sergio Valverde
Duration: 13′ 30”
Music: Claude Debussy and Ruperto Chapí
Music Edition: Cristina Cazorla
Lighting: David Naranjo
Costumes: José Rabasco
Costume designer: Carmen Sánchez “La Gerana”.

INVISIBLE BEAUTY

SOCIAL PROJECT FOCUSED ON PERSONS WITH ALZHEIMER DISEASE
A sample and approach to the Schubert creative project, with the participation of the music students MUSIKENE and the pianist Mari Tere Balerdi. Movement Workshop (Dantza eta Mugimendua) in AFEGI by the Dance Company Ai Do Project – Iker Arrue.
The project is composed of a series of CREATIVE SEMINARS and CULTURAL ACTIVITIES:- The creative seminars utilise contemporary dance to stimulate cognitive responses and memory recognition in people with Alzheimer´s disease. The seminars include a pedagogical program for music and dance students.- The cultural activities are aimed at a general audience to raise awareness, normalize and give visibility toboth the disease and the project itself.AI DŌ PROJECT integrates short dance performances in the seminars adequate for the attendees. During the creative residency at the CND, AI DŌ PROJECT developed some of the pieces which have been performed in the seminars throughout the year.On May 24th, AI DŌ PROJECT will premiere its latest production, SCHUBERT, at the Victoria Eugenia Theater, in San Sebastián. The pieces created ‘in residency’ at the CND have been integrated to this new production.

Based based on the play Julius Caesar by William Shakespeare
Direction and Choreography: Marina Miguélez
Interpretation: Raquel Salamanca Santaella, Marina Miguélez
Music and Sound: Selenite
SINOPSIS: VERSUS thoroughly studies the dramatic text by Shakespeare Julius Caesar, extracting the essence of its two main characters: only by observing the particularities of Brutus and Marc Antony, understanding their emotional and mental mechanisms, we can narrate the story of the conspiration against the roman emperor. The contemporary dance piece, performed in this case by two women, is eager to observe and pay tribute some of the cultural aspects of Ancient Rome, bringing to our days the antique vision of values that live trough time, such as friendship, patriotism, ambition or loyalty. The piece develops a deep movement and dramaturgy research work, and starts off the perspective of physical theater, mixing in its process movement, expression and text. Brutus: ” If then they demand why Brutus rose against Caesar, this is my answer: Not that I loved Caesar less, but that I loved Rome more.”
DATE AND PLACE OF THE WORK PROCESS EXHIBITION:
On April 6, in the midst of the creative process (the residency ends on April 12), a small exhibition will be held at Bastardo Hostel (Madrid) with a commentary on the project.
– Next Functions –
6 April MADRID – Bastardo Hostel: Versus (Work in project)
20 April ALMERÍA – Carboneras: Within + No se baila en la cocina
6 May SEVILLA – Mairena del Alcor: No se baila en la cocina (children)
8 May ALMERÍA – El Ejido: No se baila en la cocina (children)
9 May ALMERIÍA – Adra: No se baila en la cocina (children)
15 May MÁLAGA – Marbella: Packed with love… o lo de Escarlata and Vito (premiere)
16 November 2019 HUELVA – Cortegana: Within + No se baila en la cocina
21 November 2019 GRANADA – Albolote: No se baila en la cocina (children)

Eva Alonso belongs to the company Tercer Piso Danza, where she develops her work as co-creator and performer. At the same time she also participates in other artistic projects, being very common her work as performer-dancer in the pieces of the choreographer Jesús Rubio Gamo. However, the first one is clarified below, as it is The Tercer Piso Danza Company is a young company based in Madrid formed by Eva Alonso, Adán Coronado and Leonardo Robayo.
The choreographic work of the collective is based on the encounter of possibilities, of ways of seeing and interpreting dance and scenic art in general, where the particular searches of each choreographer prevail in each piece. In this sense, the work alternates between the role of dancer and choreographer-director. In this way, the results of the dance pieces are the result of different perspectives, personal ideas and particular ways of understanding art, but they have in common that they all come from the questioning of reality and the exchange of knowledge, precursors of possible worlds that are born from experiences and imaginaries.