En Quim col·laborar amb TEA-TRON/MAMBO i Godot Bacelona.
Lo que has leído, Quim colabora con TEA-TRON/MAMBO y Godot Barcelona
Quim collaborates with TEA-TRON/MAMBO and Godot Barcelona
“La Natten me confunde” texto para TEA-TRON/MAMBO después de ver “Natten” de Marten Spangberg
LLOC AL LLOC, article pel llibre “El carrer és nostre” d’Aída Pallarés i Manuel Pérez.
CATALÀ: + informació sobre el llibre i llocs de venda: http://www.raigverdeditorial.cat/cataleg/el-carrer-es-nostre/
Crònica d’unes activacions. Quim Bigas sobre “Festucs” i “Carne Fiesta”.
Per Graner, centre de creació. CATALÀ i CASTELLANO.
Who Am I? Atelier 1 · A spectrum of thoughts · By Quim Bigas.
For European DanceHouse Network.
Words are meanings
by Quim Bigas Bassart/ November 2015/ DOCH-UNIARTS. Read full text here
Afectos de un lector
De Quim Bigas Bassart/ Octubre 2015/ TEA-TRON. Leer aquí
People often asks me what is choreography…
By Quim Bigas Bassart/ Shared RISK BLOG/ http://risk.nu/shared-blog/quim-bigas-bassart/
Composición automàtica #1 alrededor de 1 pregunta
Leer articulo, aquí
La importància expansiva de la dansa
Sonograma Magazine, Juny 2014, Quim Bigas.
La companyia de dansa contemporània amb arrels a la cultura catalana, CollectifPOps, som un col·lectiu de dansa que es nodreix de la cultura popular catalana per tal d’oferir propostes arrelades en la tradició però amb una visió completament contemporània. En aquest cas, sempre és important que ens qüestionem com és el treball col·lectiu, i quin és el nostre entorn cultural.
No són preguntes de resposta fàcil ja que la societat i els referents culturals canvien a un ritme frenètic, i també ho fan els nostres interessos artístics. Així doncs, com entenem la dansa i la importància del treball en col·lectiu? Tenir clar el context des d’on es crea és important per a qualsevol proposta escènica o social. L’empatia cap al moment on som és un requisit indispensable a l’hora de generar un treball. Vivim en un context en el qual la dansa és una disciplina artística minoritària, cosa que no ens fa ni víctimes ni vencedors, simplement ens fa lliures a l’hora de desenvolupar el nostre art. La dansa que interpretem existeix dintre d’una estructura de moviments coreografiats que ofereixen un espai sensibilitzador a l’espectador.
Ara, més que mai, creiem que la dansa és un llenguatge que permet pronunciar-nos més enllà de les paraules i endinsar-nos en un espai molt més perceptiu i empàtic de l’entorn. Per a molts de nosaltres, el col·lectiu no és més que un grup de persones que ens troben amb un interès comú. A partir d’aquest desig ens plantegem una sèrie de normes, les quals potencien la rellevància de tots els membres i les ganes d’interactuar. Valorem molt la unió que existeix al grup, així com tot allò que projectem cap a l’exterior. És per tot això que és vital saber des d’on es genera la idea de col•lectiu per plantejar quines són les estratègies que ens acosten a assolir els objectius establerts. Com qualsevol altre projecte col·laboratiu, portem a cap uns procediments que ens faciliten l’espai per a proposar, escoltar, discutir i activar solucions que puguin arribar a representar algunes de les idees que hem generat. En les propostes de CollectifPOps es pot apreciar com les individualitats es troben submergides en una mena de moviment constant i seductor que convida a veure, en perspectiva, el resultat d’allò que generem: és tracta de facilitar un imaginari que fuig de la idea individualista i egocèntrica per donar visibilitat a la pluralitat. Així doncs, CollectifPOps aposta per un indispensable llenguatge de dansa com a forma d’expressió dins del panorama actual. A més a més, creiem en la necessitat d’incorporar formes que ajudin a crear una visió més artística de la nostra quotidianitat. En aquest sentit, pensem que la dansa és un terreny molt ric que té molt a oferir al seu públic tant dins com fora de l’escenari.
Dance Marathon (1920-1930-2011?)
For those who say this is barbaric, you’re right…now look at football and boxing.
ADAMSIXTIES (Youtube User)
Dance Marathon. (1920-1930 -2011?)
I had to present a portrait about dance marathons. It is still very difficult to speak about social dances and question their category (in fact, i don’t find it relevant). What moves me to start, is to know which could be the needs NOW in 2011, of such an event like dance marathons.
By watching the event in 1920-1930 (“The Era of Wonderful Nonsense”), we are facing a representation of Patriotism and Americanism. By those times, to be a good American had a lot to do with an idea of improving the ideal of community by social events. It was not anymore a war, a daily routine, a language, but an event that holds the meanings of being American.
It was the time of establishing world records. The people were hunger for fame, and they would go to those kind of events in order to become eternal, even if it is for some minutes.
I found it difficult to distinguish individualism from community in these events. Perhaps, the individual makes the community, and through individual achievements, the community and the sense of belonging become strong.
If I play around, I guess that being American in a dance marathon had to do with staying, keeping going, goals, endurance, communication, a couple, dependency, action, proving, money, winning, fighting for what an individual wants and surrender for the sake of victory.
I can even perceive the social roles through the event. Actually, there are 2 “main roles”: the one that physically supports an event and the other, that by witnessing it is involved. The ones that physically support it are there with the aim to establish a record, to make somebody (and themselves) proud of it, getting food, money, exposing their bodies, their weakness…working. The others, that are watching, go with their nice clothes, pay an entrance, throw money to some of their favourite participants, sit and eat, and leave whenever they want…paying. With these “two main roles”, I can not avoid to think about the social class differences that are still visible nowadays in America and in lots of European countries.
The whole event was fulfilling some of the needs of the society (food, entertainment, money, time…) and that is why, the success of the whole proposal was the connection that it had with the situation, even if Dance Marathons did not last for so long, the echo of those events are still in America.
– Social Dance, in some cases, becomes representative of some historical moment, which in turn makes it historical too.
Now, in 2011, there is a global economic “crisis” that affects everybody and provokes the closure of factories, increasing the number of unemployed people and growth of bank debt.
The globalisation and the transnationalism seems to be problematic for lots of European countries, becoming the electoral claim of the upcoming new extreme-right parties. The last years have been years of bringing fear to citizens and threats towards national identity. Some sociologists ( Massumi, Frank Furedi, DeCroux,…) called it: The politics of fear. I heard often sentences like “THEY remove what WE have” and ” THEY just come to take away what belongs to US” among people in the streets.
-“Could you demonstrate something nowadays?”
– “ What will change?”
In general, people are skeptical, which makes the individual want to be isolated and assume that his/her role in the society/community is one of powerlessness. In opposition to Dance Marathons, the current situation does not promote free time and community.
“I should find somebody that is up to pay people from their own country to establish a record. I need to find somebody that is up to be physically involved in something for the sake of nationality. Also, make big publicity and good media coverage. Would it be maybe easier if I go to America?“
Probably, this isolation could have something to do with how the individual doesn’t have to move to be certain that it belongs somewhere. With the use of Internet and other medias, it is easier to fulfill your own needs and desires. An Internet- user, can belong to so many communities and feel that is really part of something!
This thought, makes me think about the figure of the “distant outsider” in a social dance event. The figure, is not part of it. It is not supporting, neither encouraging, neither contributing to the event. It is not there. Nonetheless, this “distant outsider” could have his/her own social experience. Even this outsider can reformulate the codes and have his/her own social dance event with some others.
– Social Dance events are about a present/real/body implication to the event.
– Social Dance events are about appropriation of the individual and the codes that this person creates through and with the community.
As I can see in the medias, we are in a period where the sense of nationality and knowing in which side you are, is really important and more complex than ever. Even though the precedence is not the same, in both cases, we are in a situation where people are searching ways to prove their nationality. The most nationalistic dances, folklore, are the ones that are more visible in Europe. The dances that drink from the past and that are being used as a reminder of “who we are”.
“I would like to mess up the authorship. Social dances belong to communities, and some of those communities have not even being considered as participants. So, I would like to teach Russian dances to Egyptians, Catalan Dances to Australians, and so on. Make them believe that this is the Social Dance that represent their country. It will be important to have some sociologist, historians, mayors, politicians, etc. that will support the whole idea. “
In a conversation not so long ago, with an American choreographer, she mentioned that Social Dances happens in proximity of bodies and with the aim of belonging.
So, belonging is indeed, at the end, the most important aspect of Social Dances. Not the form, but the fact that the participants belong to the action of the group. Hopefully at the end, I do not own what I am doing, but we belong to it.
In order to belong, we need to know where we are.
Las Navas del Marqués (Spain), 8th of May 2011.
Books and lectures:
- Frank M. Calabria, Dance of the sleepwalkers: the dance marathon fad. Popular Press, 1993 Link to book.
- Carol J. Martin, Dance marathons: performing American culture of the 1920s and 1930s. Univ. Press of Mississippi, 1994 Link to book
- Dance Marathons on the 1920’s and 1930’s in historylink.org Go to text
- Rational wiki: The Politics of fear. (http://rationalwiki.org/wiki/Politics_of_fear).
- Social Research Vol. 71 No. 4, Winter 2004 – The Politics of Fear: Go to book
- The Politics of Everyday Fear- Edited by Brian Massumi Go to book
- Culture as history- Warren Susman Go to book
- Other Readings that were helpfull: Herbert Spencer ( First Principles), Richard Sennett (The Fall of Public Man) and Jose Antonio Marina (El Laberinto Sentimental).
- They shoot horses, don’t they? A movie directed by Sidney Pollack Trailer
- Selection of videos about Dance Marathons in the 1920’s- 1930’s (by me) See videos
- The Panic Is On: The Great American Depression as Seen by the Common Man (2009) See some parts
- The Power of Nightmares: The Rise of the Politics of Fear Part 1 by BBC- See documentary
19 February 2010 somewhere in Antwerp
A golden dog is looking at me, a pink candle is showing off, the coffee remains drinkable, the window is dirty, outside is wet, the sweater that I have underneath is annoing, there's several pieces of paper on the floor outside, a small biscuit next to the coffee is flirting with me, people from outside is looking inside, the golden dog has the eyes at the same spot where the ears are, people is using umbrella but isn't rainning, flowers are dying next to me, a girl got lost searching for the toilette. I would like to drink the coffee slower, feel until the last bean that lives in my mouth before the next zip. Now is rainning. People from inside looking outside, directions, smalls cameos, long cameos, people alone or by couples, I'll put my camera recording...and people stoped to pass through. Wonder if the whole world could fullfilled all the empty spaces that we have. Crowded spaces against empty spaces. Transparent umbrellas against a house with a big windown in the sealing. An almost empty coffee against an almost full coffee. The first trio passed through after 15 minutes of watching...a boy with his parents. ...summertime...first chords... Am I going alone if I go by bike? A old women smoking alone against a father smoking next to his son. A kid crashed with a tree because it was playing with a video game. The mum kept walking. Wonder if I should remember this present. the first person outside that pays attention at the tree in the middle of the street. He walked arround for a while with the hand on the pockets. A kid did a unconscience granjetté..suspended and without weight. If I could stop time, but keep moving my actions. People becomes special if we LOOK at them Wonder if my mum it's also alone now. The gates are open. I'll see people in the reflection of the glasses but nobody is passing through. ...moloko...bells are giving the chords to the song... People getting married on a rainny Friday in February? I guess, the bar in front is cheaper, but it doesn't have this window. A guy walking try to fix his underwear while at the same time is speaking to his friends. Are humans the main character of this world? Of this moment? I know that if you would be here, I wouldn't write anything like this. I would never wear a white suite with white shoes. ( I love you without missing you?) I could never crossed out "I Love you". A guy biking and smoking. Here is forbidden to smoke, but I guess also bike. A men is counting the meters of the street. One step= One meter. Eventhought I don't know their name, people passing are somebody.