A project by the visual artist and professor of Fine Arts at the University of Salamanca Miguel Angel Rego, in which we worked on the processes of intentionality and motor and verbal incapacity in people affected by motor apraxia and Wernicke's aphasia, through the interpretation of a flamenco piece that is altered and broken in its musical execution. 

 When I investigated these pathologies, I discovered their consequences and began to interpret them. The sensations I found were based on the physical and mental blockage that these disorders can provoke.  

...Relief is what I feel when it all passes.  

Mathematical Inmanence  (Read more...)

I start to dance and I find it difficult to move, I can't reach the different spaces that my body offers me in other circumstances, which makes me discover small movements both in the joints and in the facial muscles, which can also be considered as dance. I find it difficult to dance from fluidity when it has been easy to empathise with people who suffer from the consequences of motor apraxia. 

The methacrylate sheets hanging in the studio mean that I can't dance freely, so I have to find my own way to execute a variation or a simple movement, which brings me closer to the difficulties and barriers that people affected by apraxia face every day.

I continue dancing and while my body is still affected by all these consequences, I dare to sing a lyric from Triana's tangos to discover how the after-effects of Wernicke's aphasia can affect a choreography.

The stumbling in verbal fluency, the presence of unintentional phonemes, or the poor quality of the synthesis that this pathology generates, I put it into practice and my body, unconsciously, becomes small, the movements reach different levels of inclination through a process of anguish and frustration, which leads me to crawl on the floor. When I put an end to these lyrics I feel a pleasant satisfaction, which I believe, is similar to what a person with this condition can feel when they finish deciphering a sentence, a poem or simply a word. 

Relief is what I feel when it all passes…


Thanks to the Mapfre Foundation in Madrid I create a video-dance piece to interpret the social tensions and transformations of Paolo Gasparini and the bodies of Pérez Siquier.  

 Gasparini's photography leads me to chaos, to overwhelm, even to fear, I need to run while I dance, to hide in a corner of the room to use the walls as a percussive element or to dance to the stillness because of the asphyxiation that his work creates in me. 
...I have felt comfortable and free, let me dance naked.

Bailar a Siquier y a Gasparini (Read more...)

I see myself reflected in the social history of one of his photographs, I need to stop, look at it and reflect on the consequences that this image can cause in my dance, which asks my body, through the sound of its movements, to be the soundtrack of this moment. In spite of the silence and the calm that is breathed in the space, the voices in my head and the eerie noise of a life immersed in chaos make my dance become a scream and my own scream becomes the escape route to interpret this author. 

With Siquier's work I corroborated myself that a body branded by society as imperfect, fat, ugly, short or plated can have the same beauty as a body determined as perfect. I visit the exhibition and I want to show my imperfections, I want to show myself as I am, with my belly, bald, with scars, wounds on my knees and a hairy body. A prototypical physique that is rarely shown through dance because of the established aesthetics of a dancer.

Why do we always tend to hide under layers of clothes and filters to show an imposted body, why not show our body as it is? I want to dance free of beauty canons, I want to assimilate the imperfections of my body to make them perfect as Siquier's robust bodies are for me, I want to discover where our body goes when we flee from our physical complexes and show it as it is.

I felt comfortable and free, let me dance naked.