Mal Pelo proposes the second laboratory of Before the words, researching the language of movement and its transmission.
A group of people of different ages and backgrounds will meet to share their tools for working with movement, text, composition, musicality and space.
Transmission is always in two directions, from one body to another, enriching the vocabulary and the vision of each of them.

The proyecto Antena fantasma, Danza romántica/ Ghost Antenna, Romantic Dance is the confluence of two lines of research that we are currently developing in parallel.

On the one hand, we are shaping Danzas románticas, a piece of research led by Guillem, which will look into the relationship between story telling, music, space, body, movement and action in the construction of meaning and the creation of fiction. Based on the stories and tales told in romantic ballet and the music of the genre, descriptive music from the romantic ballets of the early 19th century. This research aims to be full of sensitive, romantic themes such as: the ethereal, the spiritual, the divine, magic, what cannot be seen, trans, things that change and are transformed, light and dark, mystery, the world of the night, the dreamy and energetic, things that are difficult to put into words and phantasmagoria.

On the other, we have Antena fantasma, a piece of research led by Jorge which aims to connect and understand the spiritual energetic vibration in performance, the role of the artist as an agent channelling and connecting different worlds, and how we go about handling all that intuition, with the variables of presence, body and energy. Where do ideas come from, why does everything fit together? A medium once told us that we have a gift, the capacity to raise the auras of the people who come to see our shows. In a way, we have proved this in the experience of the past fifteen years. We believe that energy is entrusted to us and we believe that we can create healing performances.

The show La Cordero y su Ejército/The Lamb and its Army is based on ideas from the book of the Apocalypse, inspired by its symbolism and final concept, and concluding that it understands the hecatombe as the revelation of a new hope.
In ancient Judaism the world is seen as linear, from creation to the end of days (the Final Judgement). After this, comes spiritual transformation. A new era in a radically changed world. An epic spirit, strength and vitality are revived in the defiant struggle against physical, mental and emotional stagnation.

“A Corrupted Empire” (provisional title) presents an imagined scenario in which, stranded in a place where time and space are meaningless concepts, confrontation seems to be the only way out of the desolate landscape. Within this conflict, the ego suggests defining itself by denying what it hates and rejects. Against a backdrop with a post-industrial aesthetic, two individuals develop a complex, intricate and intimate relationship that drives them to seek out new perspectives in this apparently exhausted land.

Terra de fuga és el títol que porta el treball de final de grau de la Paula Ramis. És un solo de format curt on explora què és per a ella un paisatge i la relació d’aquests i la identitat de les persones, espais i temporalitats. A través del moviment del cos, veu, música i traç desitja descobrir i viatjar a través de les infinites capes en constant transformació que creen paisatges, des dels més coneguts fins als imaginaris.

A science fiction story, a speculative, futuristic fable that pulls on the threads of the stories and theories of Donna Haraway and Vinciane Despret (philosophers, theorists, writers and eco-feminisits).
In this project we want to explore possible, crazy futures in response to the challenges we face in human relations, technology and on the planet Earth.

The fable is set in a world on the threshold of apocalypse, where resources are running out, global warming is a realiaty and nature responds with force to the challenges it faces.
Despite this situation we seek, as Haraway says, how to “stay with the trouble” through the multi-species, in which the human being, thanks to genetic modification, will trans-mutate with a species of the planet so as to feel more deeply our connection with the non-human, and so cease to be the main protagonist and destructor of the Earth.

This symbiosis will also be the main theme of our research, in which interaction between the visible and invisible will be essential in the relationship body - sound - space - object - technology.

Creation residency within the program of Tapete Común from Creation Houses Azala creación-La Sierra, Vitoria, EiMA creació-Maria de la Salut, Mallorca, A Casa Vella-Amiadoso, Ouresne and L'animal a l'esquena.
“KIN” is a proposal by EiMA creació.

During this residency we shall embark on a new encounter between the members of the G.I.B. (Dance Research Group), where we explore and delve into the different aspects of language, as a means of accessing the voice of the body and its poliphony.
We shall focus on practice based on removing obstacles to movement and its circulation, so as to encourage perceptive contact in a set of relationships that can capture, receive and transmit the instant and its resonance.
Reaching the body hidden within the dancing body and channeling this to harnonise intuition with time in action.

The starting point for our second meeting as creators is the poem “Childhood and Death” by Federico García Lorca. It is one of the so-called “orphan poems” from the cycle Poet in New York because, though it was written at the same time and could have been included in the book, it was in the end discarded from the version which Lorca submitted to be published in 1936. It was decades before the poem was published, by the poet’s friend Rafael Martínez Nadal, in the 1970s. He told how Lorca gave him the manuscript with the following note: “So you can see how I am feeling.”

JARANA is the third part of the trilogy of work by this company for whom traditional collective practices are the main concepts underlying their research into contemporary dance as a vehicle for communication in dialogue with live electronic music, in relation to the space they inhabit.

De voz, un cuerpo is a performance project with four musicians and a dancer. Together they will compose a sound track based on research begun by Leonor Leal at the end of 2022. This sound track will be the fruit of a free interpretation of the testimonies of women (former flamenco dancers) who described to Leonor their inner images as they danced.

There are few texts written by flamenco dancers, rather than essays on dance or biographies. There are few bodies that have published their internal images, based on their personal observations that have helped them to dance better. Practice is full of tangible material for our bodies, words that resonate one day in our learning process and change our vision, lines of light, lines on the floor, in sound, on our skins, ideas, sensations, temporary parameters, silences, gestures, prayers, invocations of other bodies, melodies, remedies and even entire conversations in the solitude of our bodies on this art that has always seemed from the outside to be mute.

Beltenebros is a choreographic project by Javier Martín, in a variety of settings as regards art, performance, sound and installation, which embodies themes such as the syndrome of the cancellation of the future of the post modern identity and its techno-religious leanings, in a critical analysis of the background noise of our age, as an effect of the inertia of cognitive rituals that now lack any communal significance. Beltenebros considers the reinterpretation of the dysphoric body, familiar to our times, through practice with anatomical votive offerings - representations in wax, metal or wood of different organs and other parts of the body - and the installation on stage of a particular “hangman’s game” as a framework for the action and its pauses; not showing the game or the votive rites, but producing alternative meanings through them. Each offering makes, with the sound, an approach to the body, a kinetic situation. This is a dance of the macabre in collaboration with the pianist Haruna Takebe and the camerawoman-performer Masako Hattori.

Creation residency within the program of Tapete Común from Creation Houses Azala creación-La Sierra, Vitoria, EiMA creació-Maria de la Salut, Mallorca, A Casa Vella-Amiadoso, Ouresne and L'animal a l'esquena.
“Beltenebros” is a proposal by A Casa Vella.

CUERPOS CELESTES/HEAVENLY BODIES
a documentary project of science and fiction.

In this residency AZKONATOLOZA will continue researching their new piece CUERPOS CELESTES, the second part of FALLA, a new series of live arts research projects by these two artists.

After eight years travelling around Abya Yala with our Trilogía Pacífico, tracing the cracks left by colonialism and capitalist barbarism on the life of the planet, delving into the consequences of unregulated extraction and the geopolitical relationships that underpin all this, our questions were piling up:

Now what? Where are we headed?
What surface should we scour?
Which voices should we listen to?

The first clue was to be found in the last verse of Teatro Amazonas: “Now, what we have to do is stop and listen.”

Listening was the starting point for the new journey we embarked on with Canto Mineral, the opening piece of FALLA, the series of documentary research, speculative reality and science fiction that we are currently involved in. Because after years giving our attention to human stories and voices, who should we listen to now?

What if it wasn’t the humans, or the animals, or even the trees that would have the last word, as Joan Brossa wrote? What if it was the stones, the minerals or the electromagnetic waves?

ncubatio es a piece that combines dance, music, models of artificial intelligence, virtual reality and techniques of movement capture as part of a performance.
Incubatio is based on the archaic practice of the same name, which had its roots in Western Asia, on the distant fringes of the eastern Greek world.
A cure that consisted in lying down in a sacred place, a cave or temple, so as to enter into a state beyond everyday consiousness until you had a vision or powerful dream. Inspired by this practice, Incubatio is a performance piece that recreates these archetypal dreams or visions, with the help of innovative technology especially designed for this project. The piece combines dance, interactive music and visual imagerey.

Perder la cabeza is a choreographic project for unconventional spaces, created and directed by Mariantònia Oliver, with the performer and dancer Alejandra Balboa and a soundscape created with Joana Gomila.
It is a piece of research into origins, ancestry, the roots that pull us towards the earth and give us the strength to fly.
It is a reflection on the different layers that limit, and define, the human condition and its embodiment. It reveals how the exterior and artificial ends up imposing an image of ourselves within us.

A piece of research into origings, ancestry, the roots that pull us into the earth and give us the strength to fly … a mane of hair inhabited by a mythological being, the symbiosis between our animal and sensual natures …a process of growth.

Los informalls are addicted to risk, to taking the difficult path, throwing themselves into the abyss of facing up to everything beyond their control and all life’s struggles, breaking out of their comfort zone and treading the very limit of their capabilities. The aim of their new piece is to return to play and exploration of the ridiculous as research methods. This time their starting point is the hypothetical creation of a musical album … only fate will decide how this all ends. A possible premier in 2023, at the very least!

De voz, un cuerpo is a performance project with four musicians and a dancer. Together they will compose a sound track based on research begun by Leonor Leal at the end of 2022. This sound track will be the fruit of a free interpretation of the testimonies of women (former flamenco dancers) who described to Leonor their inner images as they danced.

There are few texts written by flamenco dancers, rather than essays on dance or biographies. There are few bodies that have published their internal images, based on their personal observations that have helped them to dance better. Practice is full of tangible material for our bodies, words that resonate one day in our learning process and change our vision, lines of light, lines on the floor, in sound, on our skins, ideas, sensations, temporary parameters, silences, gestures, prayers, invocations of other bodies, melodies, remedies and even entire conversations in the solitude of our bodies on this art that has always seemed from the outside to be mute.

Después de más de 5 años de colaboraciones de Mal Pelo con Joel Bardolet en diferentes de las propuestas creativas del grupo, Joel Bardolet propone ahora a María Muñoz i Pep Ramis una colaboración artística con Trío Fortuny, un programa especial sobre La noche transfigurada de Schönberg.

VICINI (from the Italian "near" or "neighbours"), is born from the attempt to create an elastic and sensitive structure where to perceive how individual and group actions are constantly interwoven with their environment.
Through gestures, words and objects, the 4 performers on stage speak of the parallelism and the connection between the "inside" and the "outside", between the perceivable, the speakable and the imaginable, between the senses, the thoughts and the internal poetics of a body-singular and a body-crowd.

From October 8th 2023, witnessing the escalation of brutalities inflicted on the Palestinian people, artistic and political reflections began to weave inseparably.
In the network of connections, affectations and parallelisms between near and far events, sprang the impulse to extend our gaze to the east and approach the testimonies and poems of resilience and resistance.

"From what wind have you come?
Tell me the name of your wound and I’ll know
the road we got lost twice!"
("Mural" Mahmoud Darwish)

Mal Pelo proposes a laboratory researching the language of movement and its transmission.
A group of people of different ages and backgrounds will meet to share their tools for working with movement, text, composition, musicality and space.
Transmission is always in two directions, from one body to another, enriching the vocabulary and the vision of each of them.

As his final piece of work for his training at SEADS university in Austria, Martí Ramis will work on an adapatation of the 2017 Mal Pelo show The Mountain, Truth and Paradise. He will be accompanied in this process by Pep Ramis, creator and performer of the piece.

As a part of the final graduation for SEAD, Salzburg Experimental Academy of Dance, Jacob Gregersen will do an adapted version of the piece Bach from Mal Pelo. Under the guidance of Maria Muñoz, the creator of the solo work, the piece will be transformed and transmitted in the
first week of April and performed in SEAD in the last week of June.

In Greek mythology, the titan Epimetheus is given the mission of inventing a natural shield for each of the newly born animals. So Epimetheus decides to give spines to the hedgehogs, poison to the snakes, ink to the squids, quick feet to the hares… Once he has finished his task, and after he has sent each and every one of the animals off to Zeus, he realises that he has forgotten one creature, the stupidest and clumsiest, to whom he has nothing left to offer as protection: the human, who remains naked and vulnerable against the hostility of the world.

AFTER será el cuarto largometraje de este cineasta y representa la culminación de una evolución: realizar películas de fuerte convicción artística, con inspiración y calado popular. Con vocación de público, servicio. Con vocación de democratizar el cine de autor. Ser pedagógico con el público sin caer en el tono ilustrativo o paternalista.

PESO Muerto, de Anna Maria Ricart, es el noveno montaje escénico de MeriYanes Producciones. Esta vez busca la complicidad con la Cía. Elena Martinell para poder crear un espectáculo multidisciplinario, con escenas híbridas, donde confluirán el teatro de texto, el canto lírico y la música de autor.

Este proyecto nace de la necesidad de habla de los trastornos de conducta alimentaria (TCA). Una vez pasada la pandemia, los casos de trastornos alimentarios han aumentado mucho, sobre todo entre las adolescentes. Pero estos trastornos no solo afectan la gente joven. Hay un sector, mayoritariamente mujeres, de más de 30 años, que también lo sufren y quedan abandonadas por la sanidad pública, puesto que la mayoría de recursos destinados a curar estas enfermedades están destinados a menores de 25 años. La única manera de superar los trastornos alimentarios, en la mayoría de los casos, es a partir de la sanidad privada, haciendo que la curación dependa de si la enferma tiene recursos económicos propios.

Meritxell Colell i Angélica Castelló vuelven a L’animal con su proyecto “Lejos de los árboles” Una propuesta cinematográfica que narra el viaje épico de una artista que teje un mapa sonoro de la Amazonia en los Andes peruanos para habla del luto, los miedos, los sueños, la herencia del exilio y el desarraigo. Una historia llena de historias, un film que reivindica la necesidad de volvernos a explicar historias, de escuchar, de ser receptoras de memoria. Un viaje iniciático a través de la escucha.

En esta ocasión, la residencia acabará con un rodaje que servirá como elemento de investigación para la búsqueda de financiación y productoras para continuar este proyecto en el 2025.

PESO Muerto, de Anna Maria Ricart, es el noveno montaje escénico de MeriYanes Producciones. Esta vez busca la complicidad con la Cía. Elena Martinell para poder crear un espectáculo multidisciplinario, con escenas híbridas, donde confluirán el teatro de texto, el canto lírico y la música de autor.

Este proyecto nace de la necesidad de habla de los trastornos de conducta alimentaria (TCA). Una vez pasada la pandemia, los casos de trastornos alimentarios han aumentado mucho, sobre todo entre las adolescentes. Pero estos trastornos no solo afectan la gente joven. Hay un sector, mayoritariamente mujeres, de más de 30 años, que también lo sufren y quedan abandonadas por la sanidad pública, puesto que la mayoría de recursos destinados a curar estas enfermedades están destinados a menores de 25 años. La única manera de superar los trastornos alimentarios, en la mayoría de los casos, es a partir de la sanidad privada, haciendo que la curación dependa de si la enferma tiene recursos económicos propios.