DEFILLÓ IN HA­VA­NA: BETWE­EN IMA­GE MOVEMENT, ALWAYS BOÁN

Arte por Excelencias - - República Dominicana -

For Ma­ri­a­ne­la Boán, one of the most no­ta­ble cre­a­tors that Cuban con­tem­po­rary dan­ce has had sin­ce the mid-eigh­ti­es of the last cen­tury, to­day at the he­ad of the Com­pañía Na­ci­o­nal de Dan­za (Na­ti­o­nal Dan­ce Com­pany) of the Do­mi­ni­can Re­pu­blic, Defilló is the pi­e­ce she always wan­ted to do sin­ce her re­turn to the Ca­rib­be­an.

Defilló is struc­tu­red in its cho­re­o­grap­hic wri­ting from the nar­ra­ti­ve of the wi­de and ex­qui­si­te pic­to­ri­al work of Fer­nan­do Peña Defilló, a vi­su­al and cri­tic ar­tist with a so­lid and for­ce­ful ar­tis­tic pro­duc­ti­on with a re­cog­ni­za­ble iden­tity na­tu­re in the Do­mi­ni­can Re­pu­blic, the Ca­rib­be­an and far beyond our ge­o­grap­hi­cal lo­ca­ti­on.

In Defilló you will not find the usu­al re­pe­at in cho­re­o­grap­hic wri­ting that takes, as a cre­a­ti­ve mo­ti­ve, a cer­tain plas­tic work. Boán rein­ter­prets the uni­ver­se and sty­le of the pain­ter to del­ve in­to the in­tri- ca­ci­es of the Do­mi­ni­can Re­pu­blic and, by ex­ten­si­on, of any Ca­rib­be­an is­land strong­hold. Ma­ri­a­ne­la's pi­e­ce pro­po­ses a new ima­ge, whe­re the nar­ra­ti­ve ac­ti­on of the body gains ab­so­lu­te pro­mi­nen­ce.

Per­haps for this re­a­son, this is the work that the cho­re­o­grap­her was res­pon­si­ble for in his new host sce­na­rio. The dan­cers of Com­pañía Na­ci­o­nal de Dan­za ha­ve ma­na­ged to ac­cu­mu­la­te the cor­po­ral, mo­ti­va­ti­o­nal and cul­tu­ral ex­pe­ri­en­ces that the re­se­arch and wri­ting pro­ces­ses as­su­med by Ma­ri­a­ne­la de­mand: bo­di­es that are do­ci­le and au­to­no­mous in their ex­pres­si­ve vo­ca­bu­lary.

Alt­hough the cho­re­o­grap­hic work of Ma­ri­a­ne­la Boán and her gre­at cre­a­ti­on, the foun­ding of the com­pany Dan­za­bi­er­ta thirty years ago, are marked by the dis­cur­si­ve-spec­ta­cu­lar tre­at­ment of man's con­cerns and con­flicts with him­self and with the so­ci­ety that sur­rounds him, in fact, in her cur­rent cre­a­ti­ve ter­ri­tory, Boán is re­tur­ning to the dan­ce that dan­ces.

As it hap­pe­ned to Peña Defilló when he re­tur­ned from Eu­ro­pe to the Do­mi­ni­can Re­pu­blic, Ma­ri­a­ne­la is taking up a jour­ney, when she re­tur­ned from North Ame­ri­ca to the Ca­rib­be­an, whe­re her on­ce sup­po­sed sen­se of the "non-for­mal" be­ca­me the dis­cur­si­ve polyp­hony of the body and the ima­ge.

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