Nuestras vidas están llenas de exploración en movimiento y en la búsqueda de objetivos. Al igual que la rotación de una peonza, el movimiento es lo que nos proporciona estabilidad. Durante años, hemos estado viajando, trabajando en diversos lugares del mundo y abriendo nuestra mente a través de la confrontación con lo nuevo.

los rituales pueden catalizar una experiencia trascendental que nos conecta con nuestro ser interior, con el ser humano y con el universo que nos rodea. Los rituales logran crear espacios de seguridad y estabilidad mental sin importar las circunstancias. Un ritual nos lleva necesariamente nos lleva a través de tres fases: La separación de las creencias antiguas, el estado de transición o desorientación y, finalmente la transformación, que se abre y nos empuja a través de nuevas puertas.

Durante nuestra investigación y residencias creativas, queremos someternos a este proceso nosotros mismos. Queremos procesar nuestra percepción particular del movimiento y la estabilidad y dejarlos cobrar vida.

Motivation

Our lives are filled with exploration with movement and with the pursuit of objectives. Just like a spinning top, for each of us it is movement which provides stability. For years, we have been traveling, working in places all over the world and enhancing our mind through confrontation with the new.

The rituals, can catalyze a transcendental experience that connects us with our inner self and the universe around us. A ritual necessarily leads us through three phases: The separation from deadlocked beliefs, the disoriented state of transition and finally the transformation, which opens and pushes us through new doors.

During our research and residencies, we want to explore and immerse ourselves in rituals, We want to process our particular perception of movement and stability and make them come alive.

The performance will be arranged as a transdisciplinary scenic concert, involving three materials of investigation and performance: body, sound and object. The stage will reflect this transdisciplinary. It will be equipped with a metal and wood constructed mobile platform in the shape of a giant spinning top and an eloquent array of microphones that can record all sounds produced onstage. A single artistic performer will take up the center of the stage and the focus of the audience.

The spinning top serves as one of the objects of exploration for performer and sound artists during our research and show. It has the capacity to alter from stability to movement, thus changing the architecture of the space while it is being manipulated. The dramaturgy of the performance will be developed ongoingly during the show, responding to the performer’s exploration of speed, spinning and effects of weight on the spinning top. Balance as a non-static condition will be investigated in terms of personal vulnerability, with the body having the capacity of resolving situations of insecurity through organically reorganizing itself. The top of a pole in the middle of the platform gives the opportunity for suspension of the hair hanging artist. She can then explore the modes of movement around this pole, on the platform, in brief moments of flight and levitation in a low-flying dance at a 45° angle.

The motive of the elements will play a huge role in this exploration, as the performer transits from air to earth when she goes from a dynamic, dance-like flight to a deeply rooted connectivity with the ground beneath her. Yet, moments of trust in the stability of the object can quickly melt like ice under her feet and leave her shaky again. During the research process, we will engage with Pre-Hispanic sacred dances and techniques of foot percussion. The dances will represent a return and re-connection to the performer’s origins, but also be part of the cleansing rituals performed onstage.

The sounds produced with her body will add up to a rhythmic sound scape. More to that, it will reflect the experienced states of balance on an auditive level as it will grow disharmonic and out of tune when the performer is instable and harmonic and in tune when the performer has found her balance, thus making the performance a space for transdisciplinary experiment and experience.

The aim of this artistic collective is the creation of a series of self-standing rituals of approximately 20 minutes each and an entire show of approximately 70 minutes, a detailed monitoring of and reflection on the investigation process in a log, and its documentation in videos. We plan to develop this project during 2019 and 2020, Focusing on the different aspects of this combination of languages, exploring them through creative meetings (residencies), and sharing the different phases of this investigation process in open presentations in the spaces of the institutions that host us.

Another of our objectives is to share and exchange experiences with traditional musicians and dancers, which will add a certain flavour to this proposal’s search for a transdisciplinary language… As we would like to start with what is “closest to home”, we will explore the Jaranas Yucatecas and the son Jarocho, the traditional music and dance of southern Mexico, born out of the cultural blend of the Spanish colony in Mexico and the Catalan Sardana, since this land is the nerve centre of our collective and where three of our five members live.

The premiere of Picaderø is foreseen for the fall/winter of 2020. Since the members of this collective are of different nationalities and artistic backgrounds, the idea is to be open to this diversity, we want to experience it, adapt ourselves, learn and share. It is for this reason that, in addition to Catalonia, which is a home base for the development of this creation, we are also looking for economic support, creative residencies, and presentations in Mexico, Germany, and France, in different spaces, institutions, and platforms that support transdisciplinary creation or that are open to hybrid languages in the stage arts.