DEFILLÓ IN HAVANA: BETWEEN IMAGE MOVEMENT, ALWAYS BOÁN

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.