What will the folklore of the future be like? Can we fictionalise the world before it fictionalises us? We imagine a space where the community continues to dance with the same pulse, the same breath and the same desire to meet. An imperfect future, where questions continue to be asked, violence coexists with peace and digitalisation has not been able to destroy the human. A world in which to return to oneself, you need to return to the origins of the body, crossing it with new rhythms, with new gravities, with new identities, but where they can continue to meet in a theatre in full concert. The folklore of the future as a performative weapon to return to the most beastly, raw and human side of the body.
This process makes us think about the need to know with more certainty what is the folklore of now, the one that belongs to us. What will be the folklore that we remember in 2022? What will be left of our time? Is there something physical that we are generating beyond technological advances? What folklore will be left of the pandemic?.
SERÉ FOLKLORE will emerge from the research around these concepts and materials, from which we will continue with the identity and intentions declared in our first work. We want to continue our line of work, expressing ourselves through contemporary dance and Spanish dance in order to continue to put it in crisis, searching for the limits of its capacity for transformation and dialogue with other arts..
What we are looking for in this new creation is a type of movement and rite that may seem to the spectator of the year 2050 and 1900 at the same time. We will investigate in order to find choreographic materials of a specific aesthetic and celerity, where we can recognise ourselves now and throughout time. However much the world has changed, we are sure that this place exists and we want to bring it to the stage..
As a young company trained in Spanish dance they feel the need to work from the contemporaneity, being in relation to the current context of the living arts, dialogue and incorporating others forms of language that enhance contact and closeness with the viewer, but always with one strong commitment to stage innovation. In this time they create the piece Volume 1 (2019) awarded with: Best Dance Choreography Award Spanish and Flamenco, Audience Award and Residencia Nau del Follet Award of the Choreographic Contest of Tetuan (Madrid), Audience Award in the 10 Senses Choreographic Contest (Valencia) and Audience Award Vancouver Flamenco Festival and Madrid Flamenco Festival in the Choreography Contest of Spanish and Flamenco Dance, in addition to being represented at the 2019 Emergents Meeting. They generate the performances Les Tournesols (Matadero Madrid, 2016) and Voces (Real Academia de las Artes of San Fernando, 2014). They also work on screen dance in pieces such as SELFI (Matadero, 2016) and La Goya bitch (Milk & Honey Platform Award, 2016). And they generate contexts of creation and research like # DANZAESPROFESIÓN, with which they investigate the reality of professional dance in society (2016), or the Autumn Festival (2018), End of Year Party (2019), Festeta.ZIP (2021) and Autumn Festival (2021), where they share the company’s choreographic materials with large groups of different women origins, both with and without dance training. In addition, they collaborate with the company La Sadness in his latest work, Renaissance, from his choreographic work. In the last year they develop their first work of great format MUCHA MUCHACHA, co-directed to next to Celso Giménez and released at national level in February of 2021 in the Cultural Center Count Duke of Madrid and with later and current tour in spaces and contexts such as the Teatro Principal in Palma, Central Theater of Seville, the TEM of Valencia, the Fortnight of Metropolitan Dance of Barcelona, the FIT of Cadiz or the Vancouver Flamenco Festival, among others.
