this whole text fails repeatedly with no hope for ever-not failing: through a flux of specific whateverness, incipient multiplicity. * to shift the ground that moves you, suspending. yet the baroque twists and turns its fold, pushing them to infinity, fold over fold. * it has been happening for 12.6 billion years. it goes very well with what you know you know. transitoria y fugaz. a disjointed, a nomad lost in a kind of irreducible odyssey…with the aimless conviction that every movement will fail to find a destination, a «good reading», a valid interpretation. * fogging its own edges. piensa, con oído. is it this? i ask. more or less, more or less, ambiguous, not a clear thing. from on-going morphing, disappearing, to dissolution, to stardust (and in reverse, upside down and disordered) (again). aware of what it is not yet and what it could be soon or not. in approximately 4.7533108 x 10-8 millenniums a whistle will take over the space.

*Erin Manning, “Always More Than One” (x2) and Paz Rojo, “To Dance in the Age of No-Future”.

A dance work by Darío Bardam.
dance danced by Darío Bardam.
dance informed by the dancing of Anna Grip, Cristina Caprioli, Deborah Hay and Lipi Hernández (among many others).
dance musically driven by Darío Bardam & Tsvetan Momchilov.
dance thought together with Gry Tingskog.
dance lighten by Carina Premer.
dance illustrated by Gjorgji Despodov.
dance cared (for) and ever-accompanied by Aleksandar Georgiev.

Produced by Darío Barreto Damas within the frame of Roots Proposals, (Performance festival by and with students of Choreography and Performance, Gießen). Coproduced by ICC (Imaginative Choreographic Center) and Garage Collective with the financial support of the National Cultural Fund of Bulgaria and Giessener Hochschulgesellschaft (GHG)

seguir moviendo is an umbrella title used by the artists Sara Reyes, Carlota Mantecón and Darío Bardam to arrange a series of common affinities developed through several encounters and conversations over the last two years. This frame suggests a mediation strategy to navigate the question/ problem “how dance thinks?” through a body who insists on moving, surfing in between necessities, contingencies, possibilities and impossibilities, a body who insists on the unknown.

The three artists propose the use of the same title for different artistic work as an attempt to dislodge its understanding as individual treasure(s) and to acknowledge the collective interrelations that inevitably shape all its potentialities. seguir moviendo may arise in the shape of a research, a production, academic work, an easy hang out, a practice, a training session, a dance at the disco or a reading circle. These outbursts might not have the same processes, goals or aesthetics but they dance in and around a common ground. seguir moviendo, (to keep moving), is a concept proposed by Sara Reyes in her writing “La danza como forma de conocimiento”, based on the intermodal relationships proposed by philosopher Jordi Claramonte.

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