XXXIV Dance Valencia

dv.ivc.gva.es

In April, Dansa València serves us pieces by two choreographers with the National Dance Award, Israel Galván (bujo love) y Daniel Abreu (the son) and the absolute premiere of Soledad, from the Valencian company Titoya Son, a project that focuses on a widespread social problem: unwanted loneliness. Same theme that governs Kenophobia of Osa + Mujika, whose title refers to the fear of emptiness, closely related to fear of loneliness. Returning to the local section, we have the always interesting Cut Dance proposing a contemporary vision of triadic ballet (1922) Oskar Schlemmer, an emblematic piece for the history of art that fused dance, music and costumes inspired by Russian constructivism. Another historical review comes from the hand of corks, that relying on the mythical Giselle—icon of the romantic ballet par excellence premiered in 1841—analyzes what personal relationships are becoming in the era of screens and hyperconnection with eleven dancers on stage and incorporating elements of cinema, the photograph, literature and sculpture. Also navigate the new technological era Fake life of Mou Dansa, that rambles in motion about how we imagined a future full of next-generation privileges. Volume 1 of Lots of girl takes up some universal myths of dance (the haka of the maori, the collective trance of Ravel's Bolero…) to reinterpret them and see how they transform; Spiritual boyfriends of Nuria Guiu put on the table as a spiritual practice like yoga has been devoured and regurgitated by capitalism and Wu Wei by Raquel Klein investigates the perception of time with small choreographic acts where bodies seek imbalance and complexity. Of bodies that fold in on themselves and actions that unfold in collective movements goes Plot of Roser López Espinosa, a score about the group, its edges and drifts. AU