Vanesa Aibar, the encounter of flamenco with science | Culture | EUROtoday

There is one thing luminous within the method of Vanesa Aibar (Villanueva del Arzobispo, Jaén, 42 years previous), when she dances and likewise when she speaks. That readability of somebody who appears to cover nothing. His first lengthy work, Wurmpremiered in 2019 and revealed the open, modern flamenco that issues to him. He additionally placed on the scene some detailed shapes and arms which are usually talked about. But it was in 2023 when his identify started to be heard extra and he acquired awards and projection, after profitable with The queen of metallic the Max Award for Best Dance Show, for which she was additionally a finalist within the class of finest feminine dance performer.

His first work after that triumph will likely be introduced subsequent Saturday on the Central Theater in Seville and is titled Aibar/rabiA, a palindrome with which he performs at placing his final identify in entrance of the mirror and, by the way, his personal dance. At the origins of the montage there’s an uncommon assembly: that of the dancer with the scientist and crystallographer Juan Manuel García-Ruiz, a researcher on the CSIC, who develops his work on the origin of life and its relationship with the constructions of crystals.

“We met during a few days around Lorca at the Student Residence. I didn’t even have to go, it was a job that Belén Maya (also a dancer and a renowned flamenco name) gave me because she couldn’t. When she started talking to me about her research on how mineral structures imitate primitive forms of life, she connected me with the idea of researching the origin and forms of my own movement. The world of crystals tells you about geometric shapes that also have a periodicity. and a consequence in space,” he explains to this newspaper in a cafeteria in the center of Madrid, during a visit to the capital prior to the premiere. He also assures that his diploma in physiotherapy influences him when it comes to dancing. “Because I understand the internal mechanism of a movement, the muscles and tendons that set that gesture in motion.” Something that can be clearly seen in his interpretations, a mixture of definition and technique with that strangeness that new approaches to something provide.

To Aibar/rabiA, The choreographer has once again counted on the playwright David Montero and the last National Dance Prize winner in the creation category, Guillermo Weickert, in the tasks of artistic advice and co-direction. Both were part of the previous work. She will be alone in the dance along with the English musician Frank Moon and the singer Gema Caballero. “It is a very poetic work with an ending that I think will surprise,” he says.

Would you say that your new motherhood has influenced you when it comes to finding new nuances in your flamenco? “Completely. I obtained to bop The queen of metallic seven months pregnant when she stopped by the Teatros del Canal in 2024. Then she had extra power than ever. It did not cease. And now that I’m a mom, once I watch rehearsal recordings of this newest play, typically I’m even stunned to see myself. On a bodily stage, some qualities are rising that weren’t there earlier than. I’ve misplaced fears.”

On the Central theater web site you may learn this sentence: “The Central had a pending appointment with her and we fulfilled it with the premiere of her new proposal.” It appears like a debt, but additionally like a confession. And in fact, it responds to one thing uncommon, akin to that recognition of what might have been achieved and was not achieved, whether or not in theater programming or in nearly any public context. “I feel a little like that. I’ve been living in Seville for 20 years and it’s going to be the first time that one of my works is seen in this city. I’ve shown short pieces, but never a large production.” Not even The queen of metallicclarifies. “The truth is that despite being Andalusian, in Seville you can feel like a foreigner in flamenco. I don’t know if it is because some feel it is typical of this city or because of the tradition of the Sevillian School. But in my beginnings, it even made me doubt if my language was valid. Now, of course not.”

Regarding the criticism leveled from probably the most orthodox flamenco in direction of revolutionary figures like her, Aibar says she has not suffered an excessive amount of, “although once someone said that I had left my femininity in the dressing room.” And since it’s not often programmed within the sacred showcases of flamenco, it’s not very pending. “For me, the important thing is to feel free and not follow parameters just because. It is not always easy, we have a little voice that sometimes says ‘go ahead, do everything you know how to do and don’t show it’… Freeing yourself from it based on coherence with your creation process is something fundamental and something that I have achieved,” he concludes.