During the last ten years I have been asking myself about the significance of dance and choreography through experimentation mainly with the body and the videocamera, but also sound and technological experimentation occupy a place in my work in a less perceptible way in principle.

I consider body as the material of work and movement as the consequence of the transformation of it through time. This material is a live organism with emotions, affects and thoughts, that has the faculty of being conscious of itself and of relating with other bodies, and that is in constant transformation and interaction with the medium. I am interested in developing the movement of the human animal from all its potenciality, understanding the organism as a whole, also including the brain as part of the body. Likewise I am interested in knowing how the historical, political, economical and social moment affects the way we move and how we can react to that from the body in order to change, to the possible extent, some aspects of the reality we are living right now.

Since one year ago, and as a consequence of the previous work, my research has resulted in a project about the relation between dance and politics. It is not about openly giving a political content to dance, but better to observe the mechanisms of functioning in the process of creation and in the choreographical act to open channels of resistance and dissidence within the dance and stage language. Choreography as a public event can offer new ways of being, of entering into relation with space, with sound, between bodies, with the own body or with spectators, for instance. Through giving importance to the small details, micropolitics can be activated, that is, political positions in the scope and from the perspective of dance that transform the models of the sensible and re-define modes of making and moving. Choreography must be understood as an expanded term that can be extrapolated to any non-stage sphere, even to any non-concrete.

Thus, my choreographical work requires less and less elements that are external to dance: I don’t use any music, or videos, or any special lights or costumes. It is a conscious decision that on the one hand is born from the precariousness of the profession of choreographer, and on the other one it is a lo-fi anti-spectacle in contrast to the necessity of the new, the best quality, the most spectacular, the most entertaining and dynamic that media and the system encourage. Meanwhile I make other projects in which I don’t work with the movement of the body but that complement it and satisfy my interest in technologies, sound, DIY and DIWO and free culture.