Mudanza Discorde Informal Showing/Open Rehearsal

Mudanza Discorde has been experimenting and collaborating for 4+ months, and now we want YOU to get in on the action!

openRehearsal1 If you’re in the Berkeley, CA area, come join us for an (extremely) informal showing of our work-in-progress on Sunday June 28th, 2015 at 1pm. It will take place at Shawl-Anderson Dance Center in studio 3. Questions, comments, and “wrecking” are all encouraged! Musical arrangements by Tanya Benitez!


You can RSVP on facebook (and invite some friends!) through the link below:

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Shawl-Anderson Open House

On January 11th, 2015, Ramon Pulido and I were officially announced as resident artists for 2015 at Shawl-Anderson Dance Center at the annual open house celebration! Since Ramon was not able to make it to the event, I prepared a solo to share with Shawl-Anderson’s community members (an idea seed for further exploration!).


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Ramon and I are incredibly excited to continue our choreographic experiments with Shawl-Anderson’s support. For more updates about our collaboration, Mudanza Discorde, get on our email list by sending an email to mudanzadiscorde@gmail.com.

For the gringa whose heart beats in 6/8

I’ve just uploaded my very first video on vimeo! This is a piece of choreography I presented last year as part of the OSU Dance Winter Concert on January 24-26, 2013:

For the gringa whose heart beats in 6/8 (No, it’s not a love story).

During the summer of 2012, I began my first clumsy experiments regarding the fusion of Mexican Folk dance and/or Ballet Folklórico traditions with contemporary movement and performance aesthetics. In the fall, I began working with Asha and Devon and focusing in on one area of inspiration: the Huapango, or Son Huasteca. Like many Mexican folk genres, the traditional dance is footwork-based and not entirely separate from the music.

The short duet we created explores this unique relationship between song and dance when movement is instrumentation (as well as a social activity). How can folklore be re-imagined to simultaneously reflect its own historical significance as well as contemporary values? What is the physical manifestation of obsessive rhythm in this context? How can we acknowledge folklore’s historical significance without being subordinate to its narrative or metaphorical power? These are ongoing questions for me even after this piece has been said and done. Hope you enjoy!