De los seres con inercia al vacío

Bruja Danza

http://brujadanza.blogspot.mx/

XLIII A Contemporary Requiem

UDÂNA, plataforma de creación escénica

https://www.udana.info

Sukha, la insurgencia del gozo

UDÂNA, plataforma de creación escénica

https://www.udana.info

Malevolace, diferentes formas de salvarse a sí mismo

UDÂNA, plataforma de creación escénica

https://www.udana.info

Chumki - Di

UDÂNA, plataforma de creación escénica

https://www.udana.info

Manasés y la esquizofrenia

Laleget  Danza

https://www.lalegetdanza.com/

De los seres con inercia al vacío speaks of the inertia of beings inexorable to their temporality. Ineluctable, they resist the fleetingness of their vitality; their bodies, their works, their transit, their caducity impel them in the face of intimate cataclysms and the insoluble vertigo of their existence.

Artistic direction and choreography: Alejandra Ramirez


Musical composition: Andres Solis

From the fragment of De los seres con inercia al vacío (From beings with inertia to emptiness)
Flute: Gaston Artigas
Programming, percussions, bass and electric guitar: Andres Solis 

De los seres con inercia al vacío - fragmentAndres Solis
00:00 / 02:49

XLIII A Contemporary Requiem was Co-commissioned by Montalvo Arts Center and the Center for the Arts and Humanities at Santa Clara University, XLIII is a new site-specific performance work created by Mexico City-based composer/sound artist Andres Solis and choreographer/dancer Sandra Milena Gómez in association with the Santa Clara University Chamber Singers, and conductor Scot Hanna-Weir.

 

The requiem is traditionally an act or token of remembrance for the dead, and has inspired compositions by such musical luminaries as Mozart, Verdi, Brahms, Dvořák and Ligeti. This immersive contemporary reworking of the genre by Solis and Gómez mixes traditional elements of organ and choir with electronics and choreographed movements.This time to remember the 43 dispeard students of Ayotzinapa, and all the victims of violence in Mexico and arround the world.

Original music composition: Andres Solis

Choreography: Sandra Milena Gómez

Music conductor: Scot Hanna-Weir

Dancers: Sandra Milena Gómez, Lauren Baines, Andrea Cabrera and Mariana Denhi Estrada Romero

Organ: James Welch

Director / editor: Paris Coyne

Producer: Stephen Lee

Produced by Santa Clara University

Produced by Montalvo Arts Center

Cameras: Ryan Daly, Christopher Gaines, Kirkland Langberg, Randy Vanible and Paris Coyne

 

Producer sound design: Stephen Lee

 

Producer lighting design: Carolyn Foot

SCU Chamber Choir

Excerpt:

The piece Sukha, la insurgencia del gozo addresses joy as a form of resistance to a world where the promise of happiness is based on materialism; where the primary objective has become profit and over-consumption and emotions categorised as commercial products, - where black, arab, indigenous, gypsy or other bodies that are not within the canons of the system have been denied, where colonialism is prioritised and erases the identities of less favoured communities; as well as where fear and desolation have become powerful weapons to keep us under control, but also where joy expressed in different artistic forms has confronted violence and injustice. This piece will premiere in 2021 at the Foro la Gruta thanks to the support of the Centro Cultural Helénico.

Sukha invites us to experience different emotions and reflections on the idea of joy as a way of resisting / insisting / re-existing. It is a performance piece that bets not only on enunciating the desire for transformation but also on doing so from a joyful alternative. It defends the joy, dance and music that are characteristic of our Latin American identity, as our own way of insisting.

 

Multidisciplinary Piece
Duration: 58 min

Creation, direction and choreography:
Sandra Milena Gómez

Original idea, stage direction and choreography: Sandra Milena Gómez

Original music and sound design:  
Andrés Solís

Set and lighting design:
Sara Alcantar

Visual Design:
Ale Ariza

Costume design:
Valeria Paulino and Udâna

Graphic Design:
Clara Rodriguez

Texts:
Sandra Milena Gómez with contributions by Karim Raciel and Diana Résendiz

Executive Producer:
Diana Reséndiz

Performers:
Darling Lucas, Sandra Milena Gómez, Mariana Denhí Estrada, Erándeni Yáñez y Andrea Bautista

Malevolance, Diferentes Formas de Salvarse a sí mismo, is the result of an in-depth investigation into the resistance of different women singers, poets, dancers, in the midst of forced displacement due to the armed conflict in Colombia and Mexico. it premiered in 2017 at the Foro la Gruta, thanks to the support of the Centro Cultural Helénico. That same year it was listed by Nexos magazine as one of the best dance works of the year. In 2018 it was selected for the 3rd Muestra de Teatro de la Ciudad de México and by the Museo Nacional de Memoria Histórica de Colombia to be part of its virtual catalogue. The piece has remained in force until the present day, receiving support such as the Creadores Escénicos programme awarded to Sandra Milena Gómez, the Fomento y Coinversiones programme of the Fondo Nacional para la Cultura y las Artes in 2019 and México: Encuentro de las Artes Escénicas (ENARTES) of the Sistema de Apoyos a la Creación y a Proyectos Culturales (SACPC).

Colombia is the country with the second highest number of victims of forced displacement in the world after Syria, and in Mexico the numbers are increasing. We dance guided by the voices of women who have resisted by singing, writing poems, healing wounds and rebuilding entire communities to open the possibility that through our voice and our dance, the memory remains alive and gives an account of those who have turned the pain of war into songs, poems and constant struggles: into different ways of saving oneself.

 

Creation, direction and choreography:
Sandra Milena Gómez

Performers: Mariana Denhi Estrada, Marlen García, Sandra Milena Gómez y Juana Pabla González

Sound Design: Andrés Solís, María Fernanda Carrillo and Juana Pabla González.
Original Composition: Andrés Solís

Music and Songs:
Field recordings from the documentary "Cantadoras, Memorias de Vida y Muerte en Colombia" (Colombia-Mexico, 2017) by María Fernanda Carrillo.
Drummer: Albano Sánchez

Lighting Design:
Sara Alcantar

Visual Production:
María Fernanda Carrillo 

Scenic Design:
Sara Alcantar and Sandra Milena Gómez

Costume Design:
Mirel García and Udâna Plataforma de Creación Escénica

Image design:
Andrés Solis

Executive Producer:
Diana Eréndira Reséndiz

Chumki Di-Big Sister, this project arises from the story of Chumki Hansda, a 29 year old young woman from India with whom Sandra Gómez, the author of this proposal, created a very close bond of friendship. Due to the physical and psychological violence constantly inflicted by her spouse, Chumki decides to commit suicide, a fact that has a strong impact on Sandra and leads her to reflect on gender violence, developing this problem as the main idea of the play. This multidisciplinary play premiered in June 2016. More than 38 performances of the piece took place during a consecutive year and it is a piece that is still in our repertoire. Project supported by the BBVA Bancomer Foundation Grant for the Arts.


Through a staging and the collaboration of a creative team made up of a lighting designer, a musician and a choreographer, we pay homage to the memory of Chumki Hansda and to all the women who have died or suffer due to gender violence, using dance, theatre, music, video and performance as our main artistic languages. This piece is an offering in honour of the vitality, strength and joy that in Sandra's eyes characterised Chumki Hansda, where dance and memory come together to celebrate friendship and life.

 

Multidisciplinary Piece
Duration: 60 min

Directed by:
Sandra Milena Gómez

Current Performers:
Mariana Estrada Romero, Sandra Milena Gómez , Andrea Bautista y Erándeni Yáñez

Sound design and musical composition: Andrés Solís

Lighting Design:
Sara Alcántar

Production:
Diana Eréndira Reséndiz

Video:
Jean-Frédéric Chevallier and Sandra Milena Gómez

Video voice and biographical research:
Bhudray Besra


 

Manasseh and The Schizophrenia is a narrative choreography about memory, the reminiscence of traumatic events, the conflict to live after a trauma and the search for a way to overcome it.


Manasseh means "the one that makes me forget". This story of a soldier named Manasseh who has experienced the atrocity of a war and longs to find a way to forget the images that torment him. As occurs regularly after a traumatic event of this type, the brain may produce neurotransmitters in a way that diseases such as schizophrenia are developed. This is the case of the main character of this work.


The choreographer is interested in portraying that sometimes it is not necessary to suffer this disease or to possess a schizoid personality to experience the torment of living with different voices, opinions and internal judgments regarding an event, especially in a moment of crisis or deep sadness.


This choreography is divided into 6 scenes. Three are marked by the three movements of the Concerto in a minor for violin and cello, op. 102, "Double" by Brahms, two interludes created by Andrés Solís, and the aria "Serse: Aria Ombra Mai Fù", by Handel.
 

Scene 1: War.
Scene 2: Childhood.
Scene 3: In the Garden of Shadows.
Scene 4: Manasseh and the Schizophrenia.
Scene 5: The hospital
Scene 6: Like any person.

Choreography, Set Design, Costume Design and Light Design: Diego Vázquez
 

Music: J. Brahms, F. Händel and Andrés Solis
 

Dancers: 

Sarah Matry-Guerre

Jairo Cruz

José Ramon Corral

Ana Paula Oropeza

Ana Estrada

Diego Vázquez

Alejandra Occelli

Jessica Becerra


Running Time: 45 min.