March 31st, 2020.
I allowed my body to reflect on isolation.
I sat on the same bench and I didn't move for quite an eternity. I was all covered in clothes and my body was getting warm due to the spring sunshine.
Its conclusion was that isolation is something that happens, not really a state of mind or a state of being. It is something external, an event. And in order to understand it, one must reflect on it as such.
Therefore, a narrative of isolation must not start from a human in a moment but rather from a moment and its humans.
To my left: The canal, two Dutchmen sitting on the deck of the colourful boat.
To my right: You.
Below me: Six beautiful strangers.
Above: There will be my feet tomorrow, dancing during sunrise.
And inside: A revolution.
April 1st, 2020
Are we alone or are we all outside?
I jump and dance and remember that when no one is watching I am having the time of my life.
Where are the socially constructed rituals that make us feel we are someone? That we are something to someone else?
Or that we are meant to serve in a specific way to a specific mean?
Am I allowed to go crazy now, or at least just for Aprils fool?
I think about how crowded places won't mean the same thing anymore and how closeness with a stranger will become taboo. And I wonder if our kids and the kids of our kids will be a generation that leans towards the human touch, even more than us. I wonder if regardless of the accessibility of screens they will lean towards hugs, handshakes, human heat... having no clue that at some point it became illegal. will we be happy or will we reprimand them for something that during a crisis, we craved so much?
Whenever I say that I went to university to study Contemporary Dance. People do three tings:
1.- Associate me with Ballet (which comes with a disapproval unintentional look since my Latina complexion is one of no Parisian prima ballerina)
2.- My future being that of a Dance teacher
In reality Studying dance allows me to have a wider understanding of humans.
one body in interaction with the space, the context, other individuals.
it allows me to process information and input from different planes at the same time. It allows me to solve complex organizational problems and orchestrate the most efective and aesthetic choreographical solutions.
Whether it is at the metro, at the bus stop or at the shopping mall.
The artistry that I polish through the asiduous practice of the discipline allows me to be aware of my influencial presence in a room. The self awareness and sesibility of my own volume, weight, plumbline, trayectory and intention in space and time gives me the responsibility of spreading an harmonious composition through my conscious embodiment.
I understand the kinestetic reaction of an emotion in the human body, so in any interaction, I can identify an emotion, emphatise with it, imitate and transform. having the agency to let it influence me positively or affect me negatively.
The beauty of choreographies trhough history are teachers of our society, narrators of how we felt and acted then, and how and why we act the way we do now.
In these times where our choreographical structures are being radicly modified, where our routines are interrupted, our needs for contact put under the scope. where the automatical use of our body that gave us security of who whe where are no longer allowed, like the way we shop, the way we prepare to go outside, the way we glance at a stranger, or talk to the cashier, the way we reach to our elderly.
say: that is exaclty why I study what I study. I believe in movements, in natural patterns, in gravity, trajectory, intention, influence, community. I beleave sickness and health, mental and physical can both be found in movement. In observing it, practicing it consciously and situating the self and its relation with movement we adqurie harmony.