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Laboratorio Somático Escénico
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Choreographer, performer, researcher, teacher and cultural manager. Taking body as an axis, I have explored formats of present day art such as videodance, performance, actionism, installation and site-specific. I am interested in the discourse arising from the relationship between body, mind, emotion and spirit based on states of emptiness and expansion, that are manifested in personal ritual. I am a practitioner of TAZ (Temporary Autonomous Zones). I am interested in the relationship of dance with audiovisual language, environment and performance. I received my degree in the School of Psychology of UNAM (National Autonomous University of Mexico) and the Choreographic Research Center of INBA (National Institute of Fine Arts). I have been certified by the program created in New York by Nancy Topf, pioneer of the Release Technique and postmodern dance, which is a part of the syllabus of the International Somatic Movement Education Therapy Association, ISMETA. I have conducted an extensive work of research and teaching in over 40 courses, classes and laboratories in several cities in Mexico, different groups of dancers, choreographers, dance teachers, female inmates, children, elderly and artists of other fields. I have shared research and teaching processes with artists that include Lance Gries (USA), Mariela Greil (Austria), Robert Steijn (Netherlands), Cristina Maldonado (Mexico-Czech Republic), J Milo Taylor (UK), Tara Rynders (USA), among others. In 2014 I started the project The Smell of Death jointly with Robert Steijn (Netherlands). In 2015 the project continues with Steijn and collaboration from the choreographer Ricardo Rubio. The premise of this project is: Violence concerns us all, it keeps us constantly alert of protecting ourselves and our loved ones. Can we do something about this violence, when it seems so structurally organized and embedded in our society? I founded the Somatic-Scenic Laboratory (Laboratorio Somático Escénico, 2008), in which I have participated in projects of interchange, training and scenic. In 2014 I participated in the Condensation Laboratory of Martin Lanz in Mexico and Uruguay with national and international artists including Melanie Maar (NY-Austria) and Mariana Vaz (Brazil), among others. Currently I am participating in an online creative process of the scenic project
My creations include: “Why Speak?” Ensemble of individuals, inhabited video-installation, in collaboration with the multidisciplinary artist Alain Kerriou (2009, 2010). Project Black Glass (Vidrio Negro, 1998), series of videodances supported by FONCA, National Fund for Culture and the Arts and the National Pedagogic University, presented in several national and international fori, such as Dance on Camera Festival of New York; Before Movement (2000); White Mirror (2003); The Dirty Mirror, a reflex act (1997); Checkmate to the Queen (1994); Tribute to Zappa, glass of milk = acids (1994); Girls Gi- rls (1998); Homage to Lady Psoas with Gerardo Delgado (1998, Sixth International Performance Festival, Judson Church, New York in a tribute to Nancy Topf). together with Antonio Russek and Meinolf Koessmeier, Fotografest, a festival of audio, body and sensorial image, created under the conviction that artistic actions by themselves contain a powerful tool of political and social transformation. Following my interest in thought about scene activity, I have collaborated with several media such as magazines Etcétera, Danzahoy, DCO, Fluir, Mexican magazine of contemporary dance, among ot- hers. I have been a promoter and curator of several exhibitions of video-dance in Mexico and the United States. In Cuernavaca, since 2008, I have collaborated with Foramen M, company of contemporary dance.
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