’ residency at L’animal a l’esquena from 17th to 22nd December is part of the project Counterpoint and choreographic composition (The voices of the body, space and the contrapuntal music of the baroque), for which she has obtained a research grant from the Arts Department of the Generalitat de Catalunya. She has worked on this project during 2018 at L’animal a l’esquena, the Hochschulübergreifendes Zentrum Tanz (Berlin, Germany), the Centro de Creación Azala
(Basque Country) and at Steve Paxton
and Lisa Nelson
’s base in Vermont (USA).
The performance on 22nd December will be structured as a talk and practical demonstration and María Muñoz
will be joined for this by Jordi Casanovas
, Pep Ramis
, Federica Porello
and Zuriñe Benavente, who have followed the various research workshops that have been held during the year.
Research into the possible relationships between the contrapuntal music of the baroque, the body as a framework and source of different voices, and space as a generator of choreographic experience. Through a methodology based mainly on practice but also on reflection and analysis, the idea is to approach the work by focussing on all the possibilities that can be offered by a single body, so as to define different phases of choreographic composition and afterwards transpose this study onto several bodies in a joint composition.
The question being asked here is how the technique of musical counterpoint might find a correlation in choreographic composition.
Choreographic composition, counterpoint, fugue, canon, imitation, variation, fragmentation, subject against subject, tensegrity, kinosphere, improvisation.
In 2004 María Muñoz
presented a project based on pieces taken from The Well Tempered Clavier. The performance piece Bach grew out of a study of the pieces that make up this long work by Johan Sebastian Bach, a collection of two series of twenty four Preludes and Fugues. The piece combines dances to preludes played live with the memory of fugues danced in silence. The many performances of this piece between then and now have provided an opportunity to develop the composition in detail, through learning to listen to the music.
This experience has awoken in María Muñoz
a curiosity to broaden her knowledge of counterpoint as a tool for composition and of the concepts of the body and movement in space set out by great artists such as Laban, Forsyth, Steve Paxton
and Lisa Nelson
The ideas and considerations that María Muñoz
would like to put at the heart of her research and study proposal are related to fundamental aspects of choreographic composition and to a particular way of approaching creation, the fruit of long practical experience as a performer.