30MASDANZA and the museum spaces Casa de Colón and The Cueva Pintada Museum and Archeological Park weave a “heritage body” through contemporary dance in a programme that transforms both venues into living stages of creation.
MASDANZA MUSEUMS 2025 PROGRAMME
MONDAY OCT 06 – THE CASA DE COLÓN MUSEUM – 19,00 h
TUESDAY OCT 07 – THE CUEVA PINTADA MUSEUM AND ARCHEOLOGICAL PARK – 19,00 h
360º (15’)
Ibague, Colombia – Barcelona, Spain
Created & Performed by: Raquel Gualtero Soriano
Original Music: Lina Bautista (LinaLab) “360º”
“Three hundred and sixty degrees is a complete revolution, a rotation about our own axis to return to the starting point. The beginning and end are the same, but the journey is vast, planetary, universal, encompassing it all. The rotation stands there as a symbol of human expression and a vestige of the origins of folklore. It starts from oneself, but aims to challenge everyone. In 360º, I look towards my Colombian roots to create a piece pivoting on rotation. Sometimes from the simplicity of an initiatory children’s game, and some others from the virtuosity of traditional Colombian dances and even from the carnival’s festivity, bustle and exhibitionism. Because rotation is also about showing oneself, opening oneself up to others, undressing before them. With a simple but forceful gesture, 360° seeks to encompass everything: the playing girl, the dancing woman and the mother turning her head to look for the starting point, the trigger, the origin”.
FORGET ME NOT (10’)
Lisbon, Portugal
Created & Performed by: Catarina Casqueiro & Tiago Coelho
Music: The Caretaker – A1 “It’s just a burning memory”, Travis Lake “Dust” Davidson Jaconello – FMO III (turbulence)
“Forget Me Not takes us on an introspective journey where two performers explore the human mind and its connection to the body, navigating between remembering and forgetting. Inspired by Leyland Kirby and his project The Caretaker, this creation reflects the ephemerality of memory and the fragility of identity, diving deep into the layers of consciousness. In this work in progress, we reveal the duality between lucidity and identity, questioning what remains when memory fades and where we find meaning in a world where the mind can be lost”.
THE WAITING (12’)
Catania, Italy
Created by: Federica Esposito
Performed by: Beatrice Vettor & Marta Papaccio
Music: Agf “Elena Guro”, Solomon Burke “Cry to Me”
With the collaboration of: Scenario Pubblico, Padova Danza Project, Milano City Ballet, Accademia di Ivrea, Déjà Donné, Claudio Scalia, Abril en Danza/OtraDanza – Asun Noales
“Recently, we have been forced to experiment, individually or in small communities, the concept of waiting, pausing, stopping. Our fast-paced but somewhat beloved way of living life was abruptly interrupted by something that hadn’t happened for over 100 years, unthinkable in 2020. Our certainties, plans and hopes have been paused, necessarily and, apparently, in an inevitable way. Waiting, a term so tied to Nature, to Love, to the cyclical nature of life and death. Consequently, I started reflecting on two figures: Ulysses, who leaves, and Penelope, who stays. Ulysses, who leaves, while Penelope sees him go far away. Penelope: embodiment of the value of waiting, patience, loyalty; for a person, for love, for hope. Penelope has learned how to wait. She learned to wait, giving her dream a shape. What does waiting represent? Is it sweet, bitter, active, passive? It is, anyhow, part of our days, although time continues to flow, inexorably”.
NO(15’)
Madrid, Spain
Created & Performed by: Albert Hernández & Irene Tena [LA VENIDERA]
Original Music: Manuel Urbina “Flamante”
NO is the unknown place to which we belong.
NO is the image of a burning bonfire.
A bonfire in which we burn everything that belongs to the established.
NO is an alternative that spurs us towards that which is unseen.
We are charred wood.
We are the remnants of others.
We are dust.
After saying NO, we search in the night of life for all the questions that will keep us awake.
Saying NO helps us move forward and beckons us to place ourselves on the opposite side.
NO speaks to us about concealment, reduction, dematerialization, and even disappearance, whether of people, recollections, states or memory.
Saying NO closes, gags, and silences; it denotes non-existence and beckons us to the opposite, but, at the same time, it favors the symbolic, and intuition. It favors the unknown.
NO is the embers of a bonfire.
NO is all the unknown that we confront.
This NO that we imagine is:
Black
Coal
A photo negative
Absence
A flaw
A stain
The void
But NO is also all that’s yet to come. Everything that is empty always fills up again.
Gathering information, doubting it, asking ourselves where we are going.
Doubting as an engine driving us to search for answers.
Taking the risk entailed by the unknown.
NO is the trigger that makes us keep going.
NO is the regenerative, visceral energy that stokes our ingenuity and makes it blossom.
Saying NO allows us to find the oxygen that fire consumes and that nurtures creation.
Because art is one of the quintessential realms that exists by renouncing the ‘real’ world”.