The dance as engine of states.
Known it is that the human being has been tied for ages to the dance, it has been his first way of communication, even before the speech. From the contemporary dance there vindicates itself the use of the movement and of the body as expressive and communicative way doing major emphasis in his origin than in the search of the perfect aesthetics. This way, the concept of dance that from this discipline is worked favors the participation of any type of person, benefiting positively his development in all the ambiences: motive, social, personal, affective, etc. We might continue the speech in this line proper of the bibliography specializing in the topic, or of educational programs or of propaganda with lucrative ends. But it is not our pretension to argue the benefits that it brings to consume neither dance, nor the importance that for any person it has or it should have in his life. When you dance with a group of persons you feel that really you are a part of everything in that each one can grow and express to him thanks to the energy, the confidence, the happiness that this microsociety transmits him. Only when I dance I feel free, the dance allows me a "descorporalización" that moves me to the inaccessible of my being and of the rest of the universe. The dance is one of few weapon that we have left to face to the social system that condemns us, it cheats us, "dehumanizes" us.
Said the above mentioned, it is of being sorry that something " of scraps known " enjoys so scarce diffusion and is eternized as a practice of minorities. We believe that the social indifference towards the deep experience of the dance, and with her of his individual and collective benefits, is not only the result of a scarce democratization of his exercise and his knowledge (extensible to any aesthetic education), but, beyond it, we might speak about the history of a loss. The examples of the central role of the dance in the societies of the past are universal: 1.300 years ago, the northwest of the current Argentina knew the development of the named culture of the Gouache, in which the túsuy (of the quichua, to dance or to dance) was constituted in the route of connection with the supernatural thing. The túsuj is the dancer or chamán that realizes the ceremonial dance, indispensable complement to enter situation and to establish the "contact". Examples as this one abound the length and breadth of the planet, perviviendo in the so-called primitive current societies. Slightly closer, in the same roots of the European, coarse culture to check the theory aristotélica of the tragedy contained in his Poetic art. If in one and other married the target it was the union with the transcendency and the collective catharsis, respectively, our pretension is to do of the dance an engine of states, so much in the person who executes it as in whom it takes part of her as spectator. The premise is to favor the implication in the experiment, despersonalizándose if it is wanted, being allowed him to take …
Idea, choreography and direction Jupa and Diego Arias.
Technical Direction Eladio Cano .
Clothing Norma García.
Scenography Juan Arias.
Lighting design Eladio Cano and Azael Ferrer.
Production REA producciones.
Mercedes Ángel, Esther Medina, Jupa Arias y Diego Arias.