Guitar and the Digital Journey - Filipa Francisco

Transcription

1 the journey a viagem filipa francisco dance Joana Patita

2 João Peixoto In 2009 Filipa was invited by the Ramallah Contemporary Dance Festival to meet the El Fanoun Popular Dance Troupe. Travelling with the group in Palestine, watching their performances in small villages, I became aware of the power of traditional dance. It addresses extremely relevant issues such as identity, gender and liberty. The act of dancing, for these young people, was a cry of freedom. Her curiosity turned towards the social and artistic practices embedded in the traditions of her own country. In 2011, she relocated her team to the village of Riachos and joined the weekly rehearsals of the local folk dancers Os Camponenses, a group fiercely proud of the historical accuracy of their dances, costumes and social conventions. The mutual discovery and recognition of two artistic practices resulted in a carefully negotiated choreographic and musical score that bridges the divide between traditional and contemporary art. In 2012 this score gained nuance in a residency with Grupo Folclórico da Corredoura in Guimarães, a city known for vitality of its traditions. Following its premiere, the project has continued to develop in Portugal and abroad, with a touring history that includes the honour of opening both contemporary performing 1

3 arts events (Panorama, Rio de Janeiro) and folk art festivals (Guimarães, Torres Novas), bringing together practices and audiences in new ways. I work from an idea of research based on the body and voice. I am attentive to the context and to the people with whom I work. Dramaturgy, composition and rehearsals take shape through free or thematic improvisation, as a whole group as well as individually. Technical and creative exercises yield what I call collective materials. These are transcribed in notebooks or stored in the memories of our bodies, to be re-examined at a later stage. The dramaturgy of the piece develops as we organise this collective material. I try to understand if the material tells a story or is abstract, what our intentions were and how it can be woven together. The presentation of this artistic object is in reality the convergence of a series of research processes. These 50 people, aged 10 to 80, embarked on this journey with only their experiences of traditional dance. Not one person among them had ever seen a contemporary dance performance. Nevertheless, they plunged into the project with a great deal of pleasure. All of a sudden, the whole group was participating in scenes we had planned for only a few people. One of them said to me: We are learning your steps and you are learning ours. But yours are connected to our imagination. This project is a lovely example of how traditional and contemporary worlds can touch and be mutually enriching. João Peixoto 2

4 ON TOUR THE JOURNEY is continually recreated with different traditional dance and music groups. It involves a period of artistic residency that culminates in a public performance specific to local traditions and the people that embody them. Below is an outline of the process, to be adapted to the particularities of each location. SELECTION OF THE GROUP AND OTHER CREATIVE COLLABORATORS, REPERAGES We ask that the presenter compile a shortlist of 2 or 3 groups interested in and available to participate in the project, according to the following criteria: interest in the goals of the project and openness towards the process, relevant performance experience and availability. We ask the shortlisted groups to provide material about their music, dress and dances (videos etc.). The final selection is confirmed in a workshop led by Filipa Francisco and composer António Pedro. CREATION AND DEVELOPMENT (3 weeks) The creation period is intense, with the artistic team working together during the day and in the evening and weekends with the folk group. Part of the process includes learning basic scene structure of the piece, prepared in advance, while a second part is dedicated to creating new, specific material with the group. Rehearsals are initially held separately for musicians and dancers. A minimum of 14 rehearsals is necessary to prepare the stage version. Additional time may be required for specific adaptations (outdoor). PERFORMANCE THE JOURNEY has been presented in several different contexts. Originally conceived for a conventional theatrical space, it has also taken the form of a street procession, with scenes on church steps and overlooking balconies, leading back to the theatre or to an outdoor performance space. Adapting the piece to the space and context proscenium stage or urban trajectory is a challenge welcomed by the creative team at each stop along this journey. 3

5 João Peixoto IN THE PRESS REVIEW BY PAULA VARANDA IN PÚBICO Created with 'os Camponeses' of the Riachos folklore group, A VIAGEM summarises the truth of the country s cultural borders and attempts to cross them, negotiating artistic conventions to produce something new. Filipa Francisco demonstrates her interest in choreographing ideas to talk about people. For example, the slow change from everyday clothes to traditional costumes highlights the ritual of dressing to dance and the richness of gestures and precepts involved; sitting in chairs, men on one side and women on the other express the separation between masculine and feminine. The elevation of the material of theatrical dance to the everyday reveals aspects of popular culture that care for and preserve the choreographic and interpretative specificities of folk dances. The hypothesis of assimilation was proven in a beautiful duet a contemporary choreography initiated by dancer David Marques that incorporated a member of the folk group or with the skilful deconstruction of the fandango, with different directions, paths, and formations or new movements emerging from the original. In addition to the commendable performance of the 27 dancers, the appropriate costumes and the combination of daring and respect in the staging, A VIAGEM stands out for António Pedro s excellent compositions, performed live with musicians from the folk group. 4

6 Joana Patita A VIAGEM THE JOURNEY (2012) Concept and artistic direction Filipa Francisco Assistant to the artistic director Pietro Romani Performers David Marques, Antonia Buresi (alternates: Bruno Alexandre and Susana Gaspar) and local folk dancers Original Score and Musical Director António Pedro Musicians António Pedro and local folk musicians Lighting design and technical direction Mafalda Oliveira Sound design Ricardo Figueiredo Costumes Ainhoa Vidal Production and tour management Materiais Diversos Co-produced by Mundo em Reboliço, Festival Materiais Diversos, Guimarães 2012, Teatro Virgínia Acknowledgements alkantara, RE.AL, Rancho Folclórico Os Camponeses de Riachos, Grupo Folclórico da Corredoura, Os Malmequeres de Lourosa, Rancho Folclórico e Etnográfico de Terras de Santa Maria (Rio Meão), GEFAC, Rancho Folclórico da Casa de Viseu do Rio de Janeiro, Rancho Folclórico da Torredeita, Rancho Folclórico da Freguesia da Lapa, Rancho Folclórico de Torres Novas This project received funding from Governo de Portugal Secretario de Estado da Cultura/Direcção-Geral das Artes TOURING 2014 Porto (Portugal), Teatro Rivoli, Nov 15 Lousada (Portugal), Rota do Românico, Sept TBD 2013 Guimarães (Portugal), Int l Folklore Festival, Aug 4 Torres Novas (Portugal), Teatro Virgínia, July Cartaxo (Portugal), Centro Cultural, May 11 5

7 Abrantes (Portugal), Cine Teatro, Mar 23 Viseu (Portugal), Teatro Viriato, Mar Rio de Janeiro (Brazil), Festival Panorama, Nov 2-3 Coimbra (Portugal), Teatro Gil Vicente, Oct 4 Llandudno (Wales), Adain Avion, July 14 Santa Maria da Feira (Portugal),Festival Imaginarius, May Guimarães (Portugal), European Capital of Culture, Espaço ASA, March (PREMIERE) 2011 Torres Novas (Portugal), Festival Materiais Diversos, Teatro Virgínia, October 22 (work in progress) FILIPA FRANCISCO studied at Escola Superior da Dança in Lisbon, with the Trisha Brown Company and at the Lee Strasberg Institute in New York and with dramaturge André Lepecki. She has worked with the choreographers and directors Francisco Camacho, Vera Mantero, Silvia Real, Madalena Vitorino, Rui Nunes, Aldara Bizarro, among others. Recent production highlights include Leitura de Listas with André Lepecki, Dueto created with Basque choreographer Idoia Zabaleta, Para Onde Vamos?, part of the celebrations of the Centenary of the Republic, and Vento & Pássaros for young audiences. She has worked with prison inmates in Castelo Branco (Project REXISTIR). In 2007/2008 she coordinated Nu Kre Bai Na Bu Onda a training and creation project in Cova da Moura in the Lisbon periphery. João Peixoto 6

8 for more information, please contact: carla nobre sousa Materiais Diversos Calçada Marquês de Abrantes nº99, Lisboa, Portugal João Peixoto 7