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El proyecto se plantea como un Concierto Escénico Transdisciplinario, que incluirá tres materiales de investigación y ejecución:
Cuerpo, Sonido y Objeto. Los creadores comparten su viaje emocional y los sentimientos contrastantes de aislamiento e intensa unión, miedo y confianza .
No hay libertad sin límites…

Picaderø es un encuentro con el origen.
Es un espejo de la mezcla cultural que surge a través de los hechos históricos y su adaptación a través del tiempo.
Es también una combinación armónica de lenguajes, entre lo tradicional y lo contemporáneo. Es una imagen del constante desafío entre la esencia salvaje y el animal domesticado.

El equipo busca explorar y crear sus propios rituales… De emancipación y esperanza.
Este extenso proceso de investigación, es en sí mismo un ritual.
El diseño del escenario y las instalaciones de modulación y amplificación del sonido, proporcionan el espacio para la exploración y la realización del mismo.

English

This project is contemplated as a Transdisciplinary Scenic Concert, which will include three materials of investigation and execution: Body, Sound, and Object. The creators share their emotional journey and the contrasting feelings of isolation and intense union, fear and trust. There is no freedom without limits…

Picaderø is a meeting with the origin. It is a mirror of the cultural blend that arises from historical events and their adaptation throughout time. It is also a harmonic merging of languages, between the traditional and the contemporary. It is an image of the constant challenge between the wild essence and the domesticated animal.  

The team seeks to explore and create its own rituals… Of emancipation and hope. This extensive process of investigation is in itself a ritual. The stage design and the installations of modulation and sound amplification provide the space for their own exploration and realization.

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.

A través de un retorno físico y mental a los lugares y tradiciones de sus orígenes, Ingrid descubrió que 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. Nuestras exploraciones se conectarán a un ritual de transformación en sí mismo, un ritual de movimiento y música, centrado alrededor de una artista que es chaman y ofrenda al mismo tiempo.

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.

Through a physical and mental return to the places and traditions of her origins, Ingrid has found that 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. Our explorations will connect to a transformative ritual in its own right, a ritual of movement and music, centered around an artist who is shaman and oblation at the same time.

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.

Armour

Object of protection and imprisonment at the same time.
What are today’s armours? …Those that affect us on a global scale, as well as our own that accompany us in our everyday lives, however comfortable or painful they may be, guarding our deepest feelings so as not to get hurt, or to evade a reality that we don’t want to face…

Reins

Object of control, manipulation.
Taking the reins of our own lives.
Do we let ourselves be guided or are we victims of control?

Movement, Balance, Instability…

Rather than answers, they are questions we seek to debate, investigate, explore, and raise awareness of, in order to reach sublimation through art. Rituals can act as a catalyst for transcendental experiences that connect us to our inner being; they connect the human being to the universe surrounding us. Rituals are able to create safe spaces and mental stability regardless of the circumstances. A ritual must take us through three phases: the separation from old beliefs, the state of transition or disorientation, and finally, the transformation that opens us and pushes us through new gates.

A ritual must take us through three phases: the separation from old beliefs, the state of transition or disorientation, and finally, the transformation that opens us and pushes us through new gates.

From 18 to 22 of February, the first period of residency in L’ Estruch, Fábrica de Creació in Sabadell.
http://lestruch.sabadell.cat/

From 12 of May to 9 of June, creative residency in Le Château de Monthelon, France.
[Residency supported by the Program of Artistic Residencies,
2018/19 of the Fondo Nacional para la Cultura y las Artes. FONCA, Mexico ]
http://www.monthelon.org/  

From 25 of June to 12 of July, second period of residency in L’Estruch, Fàbrica de Creació.

From 16 of September to 16 of October, creative residency in la Fabra i Coats, Fàbrica de Creació.
http://ajuntament.barcelona.cat/fabraicoats/es

From 1 to 15 of March 2020, residency of technical exploration in la Vela L’Estruch Sabadell.

Public Presentations of the Exploration Process

12 of July, 2019 in the festival Deltebre Dansa, Catalunya.
5 of October, 2019 in the residency festival of la Fabra i Coats, “Seismes”, Barcelona.

Ingrid Esperanza Berman Marin

+34 630678377

collectivehaa@gmail.com

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