OF SATURDAY 13 ON SUNDAY 21/4
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"We are the platform for Spanish dance", sentenced the director of Dance Valencia, María José Mora, in the presentation of the 37th edition of the festival; this is how they see us in the rest of the state and outside of it, she said, convinced of the success of her management over the last four years. They will be 33 the proposals that this year make up the skeleton of the great dance meeting in Valencia, fifteen of them from Valencia. They have been selected to offer a broad look at the languages of the body rummaging outside the big focuses of production (Madrid i Barcelona), mixing productions from established companies and emerging talents who have more than one thing to say using this universal language that knows no borders. Of the nine communities represented in the program, Andalusia stands out, capçalada por la Premi Nacional de Dansa 2010 Rocio Molina [19] and its irreverent mix of flamenco and avant-garde. His choreographies are unique stage events that are nourished by cinema, at literature, philosophy and painting, and on this occasion comes to present the third part of the Trilogy on the guitar, back to one. Also Andalusian, Patricia Caballero [18], former stage director of flamenco dancer Israel Galván, premiere the piece Agape to the Musical Theater; and the other national premiere of the festival is byAlberto Velasco [18], Director of Dance damned that won in 2016 the Max Award for Best Revelation Show. He will present in the cloister of La Nau Move mountains focused on the folklore that permeates her mestizo identity.
Besides, two international works can be seen for the first time in Spain: Roommates of the collective (The)Horde and the Marseille National Ballet [21], that question the political meaning of dance and map the choreographic forms of the popular uprising by combining raves, traditional dances and jumpstyle; i Free zone where the choreographer established in Rio de Janeiro Alice Ripoll [20] echoes the aspirations of Brazilian youth in a moment of sociopolitical transition. Tornado to the peninsula, the Madrid company corks [17] is inspired by The ascent of Mont Ventoux of Petrarch to look for answers to the conflicts of the present in the humanist past, Mercat Dance [19] drink fromAvernus by Dante, the the valley british Reverse Graves' Response [21] creates links between flamenco and other forms of bodily expression, Inka Romani [17, 18 i 21] explores popular dances as a mechanism to generate community, Núria Guiu [18] combines the personal memories of nine female dancers with iconic pop culture choreography, i Joaquin Collado [20] raises questions about the figure of the dancer. Ja from home, Cut Dance [18-21] introduces us to the Sant Miquel dels Reis Monastery to one Judith with many layers and different edges determined to be free. In addition, a smoke of companies, mostly Valencians, bring dance to the streets, to l'Almudí, to the Central Park and the Queen's Places, of the Market and of the Virgin so that everyone can approach her, fans of course, but also, especially, the audience that has never paid a ticket to see a dance show. AU
