El propósito de esta nueva residencia es continuar investigando sobre los materiales que despacio van dando forma a la nueva pieza escénica de Vicent, que se estrenará en noviembre del 2026 en Valencia. El proyecto parte de la idea fundamental de hacer frente a la aceleración, creando en escena paréntesis temporales a partir de la elaboración de atmósferas. Cuando estas se materializan, se produce un lugar de salvación donde el tiempo no se mide por horas, minutos y segundos.

A residency for communication and reflection by Amaia Gabilondo and Juli Pérez from the team Garaion.
The word “relief” comes from the Latin “relevare": to lift up again, lighten the load, support with many hands what a single one cannot. It originates in a friendly, almost intimate gesture, that of sharing a load so that a journey can continue. As time went by, this act became change, subsitution, movement; bringing in the relief like someone being passed a torch that doesn’t go out. The word relief comes with all its meanings, of relief in a post, relief-work in carving, and lightening of a burden, all of them related to the idea of sustaining, handing on or transforming a shared load.

For the team at the Garaion centre for creation, art and nature (www.garaion.eus), relief appears as a need to stop and contemplate the path they have travelled. After twenty years of activity, supporting processes, mee-tings and creation, they feel a desire to understand what all this experience has meant, what it has brought to the artists, the environment, and to the cultural eco-system around them. This pause is for a moment of care and reflection, a time to ask themselves what deserves to be kept, what told and what can be changed.

This process will take shape through a residency by the members of the Garaion team at L’animal a l’esquena, a legendary and much-loved space. This involves a physical and symbolic move from the Atlantic to the Medi-terranean, uniting two creation spaces in rural settings that are connected by long histories of experience.

It is essential to meet up with other people working in the same field: to pause together, talk, share experiences and take a closer look at what creation spaces are and have been. At this meeting, memories will unfold, intuiti-vely, emotionally and from experience, giving proper value to the margins, the minorities and the intersections to be found in these places. Voices will be collected in recordings, drawings and personal maps that, when gathered together, will make an archive of shared wisdom.

In this way, relief ceases to be seen as substitution and begins to feel like a process of conscious transforma-tion, a way to carry on building on what we have learnt.

Garaion is a creation space in the Basque Country that promotes creative processes, research and experiment by artists and creatives so that they can be shared with the community, so as to socialise creative experience, and to encourage the development of artistic capability in the Basque Country and so enrich the collective Bas-que imagination in the field of artistic creation and cultural production. It is located 15km from Vitoria, in an amazing natural environment.

Socialising creativity, taking responsibility for the improvement of nature, through programmes dedicated to nature, art and participation, revitalising old jobs so as to bring these skills back into the communtiy and legiti-mise them as part of our intangible cultural heritage - these are our foundations. A space for continuous lear-ning, through participatory processes to make new, innovative paths based on sharing traditional wisdom with mistresses and masters of basket weaving, bioconstruction, cookery etc. We are happy that all this is done in Basque.

In the afternoon of the autumn equinox I buried a book, a book that had already been buried seven years earlier. I buried it in the ring of holm oaks near the pond, to the right of the creek, up towards the tunnel. That ring is a place that had been calling to me since the beginning of last summer. Soon after I buried the book, some animal tried to dig it up. Several times in a row. It pulled up a few leaves and scattered them at the top of the slope. It was funny to see the fragments of illustrations from the Kama Sutra left there among the bushes. Since then I have been almost every day at dawn to see if that animal, or any others, are still interested in digging up the book.

Malas Carnes is a solo for the stage which delves into a physical and conceptual drama focussing on the objectification of the female body. The piece explores presence, desire and the fall as the key elements of an investigation that puts the body under constant tension. At the centre there is a body that works in opposition, activated by a fall as its opening gesture and as a mechanism for transformation, alternating between consciousness and unconsiousness.

The project expresses a play on perception through three simultaneous lenses: the body live, tangible and present; its distorted, fragmented projection; and the image through the medium of a screen, blown up despite the distance. These presences live together like ghosts of one body, revealing the layers of opinion, construction and external gaze that pass over it.

Extra Motivated People - PIED PIPERS is a new outdoor project by LosInformalls, baed on two key concepts: firstly, the story of the Pied Piper of Hamlin, not as a tale of revenge but as a representation of a society captivated and transformed by a powerful, almost magical sound. Secondly, the concept of the “crucible”, a metaphor for how different cultures, identities and elements fuse together to create something new, but without any attempt at harmony. Here the project does not seek balance; this is a clash of forces turning the stage into something unpredictable.

A project by Milagros García Salgueiro in collaboration with Alejandra Salgueiro.

My first idea: to do a project with my mother, in which she would not only be my mother but also my companion, my collaborator, my first reader, my tutor. To see my mother as a teacher and for her to see her daughter as a dancer.
My second idea: to write together a fanzine about dance, improvisation and education. To create a dialogue between our practices: mine in a dance studio, hers in a classroom.
My third idea: to think of the edition of the fanzine as a glossary. To asign a word to every letter of the alphabet and, from there, let different texts unfold that would put it in dialogue with the core subjects of the project: dance, improvisation and education.

Un huracán avanza alegremente is a hybrid performance piece that combines performance, audiovisual language and dance. The piece is based on a creation process shared between the director, who is also a performer, and Junco, a young man with functional diversity, who acts as co-protagonist and performer of his own experience.

María Muñoz (Valencia, 1963) and Mónica Valenciano (Las Palmas, 1961) are two of the most disruptive, brilliant and important dance creators of the last forty years in Spain. Without them what we now call contemporary dance could not be understood.

They met in the 1980s, their paths crossing in workshops and at meetings, they improvised together and followed each other over the years, watching each other’s work, getting together whenever they could to talk and find out where they were, each of them.

“For the first time these two dance creators, as close as they are un-alike, have come together to make a piece. They are doing this with the Faraig Choir, with echoes of the 17th Century Italian composer Barbara Strozzi and with the memory of those two young women who in the 1980s used to dress as men on streets where there was no talk yet of gender and patriarchy, but where you had to fight every inch of the way. A hard daily struggle against the objectification of women, both social and artistic.

Lyrics for a friend es un proyecto coreográfico y musical creado en seis manos y llevado a cabo a dos voces. Paula Ramis, Magalí Camps y Júlia Miquel se sumergen en las dinámicas y construcciones de la representación escénica musical, a través de sus diferentes formatos y géneros. Extrayendo las complejidades gestuales, convenciones sociales, así como coreográficas que se establecen al escenario, reflexionan sobre el aparato teatral detrás la música.

Sull’uscio/At the Door is the provisional title of a piece in which the young dance company Apolvere hopes to experiment with a few ideas in the early stage of research carried out between L’animal a l’esquena and the Akropolis Centre in Greece.

The artistic interest in making the piece lies in the fact that the two co-directors, who come from Italy and Spain, are currently experiencing an increase in fascist political discourse, and its normalisation, both in their home countries and in the rest of Europe. This has brought home to them the importance of making a piece that discusses collective organisation to preserve a future in which freedom of expresson and dignified living conditions are not at risk.

MYCO is a meditation on silence, communication and the intricate web of life that binds us all. In a world full of noise and hurry, this piece reminds us that we need to listen to the murmur of the trees, the beats of our surroundings and the silent poetry of existence. Through dance, a space is created for reflection, connection and, ultimately, recognition of the beauty that flourishes both in the woods and within ourselves.

A surprising osmosis twenty years ago linked María Muñoz to the Well Tempered Clavier by Johann Sebastian Bach. The choreographer does far more than merely interpret the music, she is a musician sublimating prelude and fugue, in the vivacity and depth of her calligraphic movements. Her finely carved dance has revealed, over time, the evolution of her body and the sensibility of her artistic career. At the moment when age might oblige her to give up this solo that has become a life-companion, the Théâtre de la Ville has invited her to imagine BACH en famille, in the company of her partner, the artist and choreographer Pep Ramis, and her three children Martí, Paula and Sam, all now professional dancers. To crown such an impressive career, a work that blends with real life.

A project that crosses frontiers and disciplines, on the figure of the savage in the carnivals of the Pyrenees.
Marta Izquierdo Muñoz (?oulouse, FR-SP), Nans ?aborde-Jourdma (Oloron & Paris, FR)
Victoria Klotz (Bagnère-de-Bigorre, FR), Montdedutor (Gérone, SP), Martxel Rodríguez (?esaka, SP).

“Créatures” in French translates to “criatures” in Catalan and “criaturas” in Occitan and Spanish (“creatures” in English). The inclusive, neutral form could be written as “creatures”, so that “Cre/iatures” is readable in the four romance languages. “Izakiak” is the Basque version of the word.

Depuis plus de trente ans, Ex Nihilo développe une danse située, physique, sans artifice, une danse
qui s’invente au contact direct des lieux et des personnes. Notre parcours s’est construit à travers
de nombreuses expérimentations in situ qui nous ont permis de composer et affirmer une danse
qui investit les lieux, les révèle, les transforme, par le corps fragile et vibrant du danseur. Une pratique
qui naît toujours de sa relation avec l’espace urbain brut : surfaces, reliefs, vents, rythmes de la ville,
présences humaines, tensions et respirations d’un territoire.
Ce projet chorégraphique s’inscrit donc dans une réflexion profonde que nous menons sur le temps
qui passe, qui façonne, qui efface, mais aussi celui qui transmet et qui construit.
Nous nous appuierons sur une mémoire vivante – celle des corps qui se sont frottés aux villes du monde,
qui ont appris à lire les espaces, à composer avec l’inattendu, à faire émerger du poétique dans l’ordinaire
pour réinterroger cette relation fondamentale au dehors et à l’Autre et défendre une danse libre, exposée
et profondément ancrée dans le réel.

La mano y los tiempos is a project of artistic research that approaches the body in movement from a poetic, critical and gender persepective. Centred around dance, it explores the hand as a living archive, an expressive tool and an extension of thought, reformulating the idea of space-time in body language. It investigates how hand gestures build memory, stories and subjectivity, embodying historical and cultural dimensions. It articulates stage practice, writing and cross-disciplinary dialogue to generate embodied wisdom. It will be developed at L’animal a l’esquena, Son Tortuga (Mallorca) and Azala (Álava), with the aim of creating a dynamic archive of corporal knowledge.