Territorio Mutado is a site-specific project that operates in stages. It uses the existing situation as a framework of possibilities to risk a singular format, content and relationships. It exists at the converngence between flows of movement, bodies of different kinds and the surroundings; it observes the movement where we have paused.
Urban environments are built over water basins that run beneath the land or asphalt. These basins are usually administered according to engineering criteria that do take into account biological adaptability and this is how the collective imagination begins to work around water.
Water is changeable, hard to grasp and dilutes everything, characteristics that get in the way of the intended sense of progress. It happens that these are also characteristics of dance. At the same time, if we broaden our focus of observation, we see that every basin is linked in a huge network of larger basins, and is thus a great connector of the territory.

Territorio Mutado observes how an environment opens up a culture and how the culture opens up the environment in a symbiotic relationship in which directions dissolve away and a complex network of relationships is established.
In its first stage, it travelled along 170km stretches of the Matanza Riachuelo and Río Salat basin in Argentina, as well as the Guaies basin in Ecuador, crossing mega-metropolises, cities, conurbations, towns, countryside and little local viallages. At this stage the project had the support of many national and international institutions.
At present it is at work on the Arroyo Vega, the only basin that begins and ends within the jurisdiction of the city of Buenos Aires. This stage is backed by the Autonomous City of Buenos Aires.

At L’animal a l’esquena we shall be in contact with environmentalists and biologists from the area, as well as people from the rural and industrial worlds of Celrà as we continue our research.

The first stage of development was part of the project PERIPHERAL PRACTICES, a project run by the Centro Rural de Arte y Pedalúdico in collaboration with the Swiss arts foundation Pro Helvetia’s South American programme COINCIDENCIA. It also had support from MAAC (Museum of Antropology and Contemporary Art of Guayaquil, Ecuador), the Fondo Nacional de las Artes (Argentina), the Fondo Metropolitano de la Ciencia, la Cultura y las Artes (Argeninta), Édhéa École de design et haute école d arte du Valais (Swizerland), BienalSur UNTREF (Argentina), Fundación eXActa (Argentina), cheLA (Argentina), REMAP UCLA (US), 2019.
The current second stage of development receives support from the Fundación Cazadores, Plataforma LODO and a subsidy from the Instuto para el Fomento de la Actividad de la Danza no Oficial of the Ministry of Culture of the City Authorities Buenos Aires.
At this stage of the process, Elina will have the collaboration of Cecilia Blanco, sociologist, performer, stage director and trainer.