The closure of international borders by Covid-19 made it impossible for Juanqui Arévalo (Bolivia) to participate in the Linha de Fuga Laboratory, but this event opened the way to another possibility of participation in the project, a Linha de Fuga. Danzarín is based on the dual and dichotomous that inhabits those who dance, in their movements and words, an organism composed of two dancers (Dos Danzarines), linked by the joint writing of a choreographic script. This is how the Bolivian dancer and choreographer Sharon Mercado (Berlin) was invited to be the physical presence of the project, a sort of avatar of Juanqui in the distance. Both danzarines were linked by the Residencia INMATERIAL para las Artes Vivas [Juanqui, manager; Sharon, resident] where the political/democratic events suffered by Bolivia prevented the realization of INMATERIAL in November 2019. 

During Linha de Fuga, Sharon and Juanqui will investigate the writing of the choreographic script of two dancers, of a procedural nature, through correspondence and sharing of experiences. This linkage will nourish two individual processes and everything that resonates between them. At the conclusion of Linha de Fuga, Sharon will enter into residence at INMATERIAL, virtually until November, to continue her research. 

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danzarín, ina (adj.)

Spanish word for dancer

1. m. y f. bailarín, persona que danza con destreza. 

(m. and f. dancer, person who dances with skill.)

2. Persona de poco juicio. Que se entremete, opina sin suficiente contexto, o juzga sin bases sólidas. 

(Person with poor judgment. Who meddles, gives opinions without sufficient context, or judges without solid bases.)

This work is born from the desire of the meeting between two dancers and how they can relate to the two meanings of the word dance, considering the duality of meanings between what the dancers do and what they say; to detonate possible dialogues, resonances, oscillations, friction and discrepancies between the action / performance and the textual / verbal and between the individualities of both involved. This work is a meeting practice.

The project is based on a choreographic score that causes writing to be transferred to the body and from there back to writing, allowing the score to be constantly updated, keeping it in motion, to understand it as a living organism. This score will thus be edited, intervened and rewritten by those involved during the creation process. Once the creation process is completed, the score will take on a new nature and version, trigger for a future project, which will follow the same methodology whenever it is materialized again, complexifying and destabilizing the concepts of authorship and enabling a cumulative, horizontal and fed by various voices and experiences.

Danzarín is an excuse for the encounter between Juanqui Arévalo and a guest artist, preferably a dancer of breaking, hip hop or classical dance; other dance languages are also possible as long as they respond to the first definition of danzarín.

 To investigate the intimacy of those involved through a performative program, a series of instructions: a choreographic script. The second definition of a dancer is a provocation, to understand ourselves from that place and to ironize ourselves.