Dantzaz is production

STAFF

Choreography: Giovanni Insaudo. Music: Davidson Jaconello

STAFF goes beyond conventional dance; it is an intimate experience, a realistic and human narrative that unveils sketches and situations normally hidden. We invite the audience to delve into new and thrilling dimensions behind choreographic creations. Accompanied by music specially crafted by Davidson Jaconello, a regular collaborator with NDT, Insaudo aims not only to stimulate intrigue and curiosity but also to create a unique experience that awakens wonder for everything that unfolds behind the curtain.

PINK

Choreography: Alexandros Stavropoulos. Music: Alexandros Stavropoulos (inspirado por: S. Reich) & Konstantina Polychronopoulou

In July 2023, Dantzaz welcomed Greek performer and choreographer Alexandros Stavropoulos. This encounter not only marked an opportunity for Stavropoulos’ artistic development but also propelled his role as a choreographer in future collaborations, all within the vibrant creative framework fostered by Dantzaz. In ‘PINK,’ he delves into a fascinating array of themes, including femininity, color, humor, polyrhythm, and musicality. Framed within an aesthetic blending kitsch and anime, the piece breathes life into an amalgamation of unconventional perspectives, weaving a highly captivating narrative while seeking to uncover beauty in the peculiar.

VERDANTZ

Choreography: Sarada Sarita. Music: Oreka TX

VERDANTZ is not just a dance; it is an experience where diverse dynamics, forces, and contrasts intertwine to convey Sarada’s artistic vision and narrate a universal story that everyone can deeply feel. Inspired by indigenous cultures and their connection to nature, VERDANTZ particularly thrives on collaboration with Oreka TX, who have crafted a unique soundtrack from elements extracted from nature itself. This captivating union of movement and sound will transport you to a realm where dance becomes a conversation with the natural world, where each step is a connection to the very essence of the Earth.”

‘Salt’

Choreography: Gil Harush. Music: Paul Simon and Georg Friedrich Händel

‘Salt’ is the title of Gil Harush’s first choreography for Dantzaz. His work portrays these conflicts between tradition and modernity, using life in a small fishing village as inspiration, where the rules imposed by globalisation and markets prevent those traditional practices that linked the town to the trades of the sea from surviving as they have done, century after century, for generations.

‘F.O.M.O.’

Choreography: Gil Harush. Sound environment: Gil Harush

Inspired by the acronym F.O.M.O. (Fear of Missing Out), Harush’s second creation for Dantzaz delves into those psychological scars or wounds that hyperconnectivity leaves on each of us; traces of “that pervasive apprehension that others might be enjoying rewarding experiences while we are away”.

‘Quorum’

Choreography: Hilde Koch. Music: Paula Olaz

‘Quorum’ is a piece by Hilde Koch that draws on the contributions of composer Paula Olaz, sustainable fashion designer Tytti Thusberg and lighting designer Alaine Arzoz. The joint work of these four women converges in a piece in which Koch -a close collaborator of William Forsythe or Nacho Duato- shares the work of choreographic writing with the performers of Dantzaz, thanks to the support of the Euroregional Network ATALAK.

..…is the joint proposal that makes up BASOTIK ITSASORA 2.0, a hybrid format made up of the screening of a 30-minute excerpt from the documentary ‘Basotik itsasora’ (‘From the forest to the sea’), signed by Beñat Gereka, followed —in the same scenic space—of the performance of the play ‘Basoa’, by Josu Mujika.

On their seats, viewers can watch a 30-minute excerpt from ‘Basotik Itsasora’, a documentary film signed by Beñat Gereka and which portrays, from a perspective that crosses the borders between past and present, human migrations and the drama of refugees. His gaze falls on Gurs, the concentration camp located near Pau where the French Third Republic built, in 1939, a camp to house the thousands of displaced people from the Spanish postwar period. That place would become, after the Nazi invasion, a concentration camp. After the Second World War, in 1946, the French state erased its footprint and planted a forest on the site. Over that forest and the traces of that history —and the fear of repeating it—, Beñat unfolds a poetic journey towards the sea and towards those who cast upon it the dangerous hope of seeking a better future.

After that preamble, ten performers occupy the stage space to stage ‘Basoa’, a piece choreographed by Josu Mujika based on musical compositions by Iñaki Salvador. Those voices, those of Gurs and the refugees, are the starting point of a choral work articulated in eight scenic frames where emotion, physicality, tenderness and memory converge. «A dance, that of the company, very physical, well defined; with a lot of ground, but prevailing the verticality of the one who falls, yes, but gets up; and, always beautiful, with a point of optimism in the cabaret step, in memory of those cultural booths that the Gurs field had: culture, in all its aspects, that feeds hope and clings to life, ”he writes Teobaldos (News from Navarra).

If cinema has made it possible to capture stories, episodes or stories that have marked the lives of generations around the world, dance is capable of taking those moments to a universal place that only requires the clean gaze of the observer. Both languages ​​or poetics now face each other in a project with which Dantzaz —and that immense family that surrounds the company— explores new forms and discourses so that art, memory and reflection walk hand in hand.

‘The Happy enslaved people’

Choreography: Martin Harriague. Music: J. C. de Arriaga.

Ten frenetic minutes, full of energy and movement, offer an ironic look at today’s society. The Basque-French creator Martin Harriague created this piece inspired by the overture to the first opera by the composer Juan Crisóstomo de Arriaga. He did so in collaboration with the CCN Malandain-Ballet Biarritz and 35 musicians from the Euskal Herria Youth Orchestra (E.G.O.). The result is a work with a colourful and complicit aesthetic, frenetic in its rhythm and loaded with subtle doses of humour and irony that asks the spectator: we are slaves of a frantic world, but are we happy?

‘Thirty’

Choreography: Sade Mamedova. Original music: Mateo Lugo.

Creation is full of poetry and delicacy in a fifteen-minute choreography that combines emotion and abstraction. The Russian choreographer Sade Mamedova approaches the world of migration and identity by developing a dynamic and rich choreographic language full of nuances. This work is co-produced with the Hannover Choreography Competition (Germany).

‘Walls’

Choreography: Martin Harriague. Music: J. S. Bach, G. Verdi, Yemen Blues, José Alfredo Jiménez and Pietro Mascagni.

Once again, the overflowing talent of Harriague, this time in a 35-minute piece, is powerful and resounding. A reflection on the world and barriers, on concrete and barbed wire. A show based on Harriague’s stay in Israel, where he worked for five years and experienced first-hand how the world closes itself off by erecting walls. This production was produced within the framework of the Atalak network.