MixArt Project - “Sculpture in Music”
"Starting from various fragments, it will evolve into a vivrant fusion between dance, live music and visual arts".
Giovanni Falzone: musics and trumpet - Yuri Goloubev: doublebass and musical coordinator - Marco Zanoli: drums - Camilla Maffezzoli, Giada Negroni and Stefano Roveda: dancer - Wiebe Moeys: director and choreographer
Starting with Tango...
Such writers as Jorge Luis Borges, Federico Garcia Lorca defined Tango as the most free dance, the dance of transgression.
It is a common view that tango must have been the natural soundtrack of violent and marginalized lives.
Without its choreographic schemes and a basic regular step, the tango of the beginning must have been improvisation and skill to interpret its music and turn it into dance. The realization of the show starts from here. A chaotic mass of movement underlines the reference to the discomfort of the current framework, recalling feelings still intense nowadays.
"Bowels of the earth.
Lymph flowing. Pulse."
Percussions, with their continuous recall to the tribal life, are the protagonists of this show.
The bodies of the dancers are pervaded with tribal rhythm and sound; their movements develop some kind of vital lymph that nourishes and pacifies.
It is a primordial singing of people and land, bursting but harmonic dances, stressed by percussive sounds.
"It's not me who's singing the fado, it's the fado that's singing me"
"FadoMeu" feeds on passion, on the sensuality of the fado, it produces melancholy, not with lament but with emotion; it mixes Arabian notes with African and Lusitanian ones, it embodies the spirit of people without boundaries.
The choreography leads to white spaces filled with nostalgia that seem, in the meantime, to revive rage and hopes that never die.
Voice and music are the synergic powers of the dance, they accentuate body's sinuosity, they flow over the spectator's sensibility.
MixArt Project meets "Triad"
A sound journey into dance, occidental and oriental melodies, visions of deserts and seas, dragging steps, rustling of tunics and silences.
It suggests estranging sensations to the voyager/spectator.
The choreographic actions begins and ends with the rhythm of Didgeridoo. From tango to African music, to the Middle East and from there to Tibet where melodies become meditative. In India they are raga, then they pass through China and arrive in Jamaica with the reggae acoustic. During this long and intense journey there is a dialogue between all the ethnic groups all over the world, realized using percussive and traditional rhythms.