The piece was the result of the unique pedagogical-creative process, originating from the necessity to delve deeper into the information collected. This was achieved through first-hand memories gained from my first dance technique learnt (Spanish Dance), along with my up-to-date understanding of the body. My focus centred on checking whether it was possible to encompass both of these visions into other bodies, with the intention of understanding whether an influence stemming from a specific place could have an impact on the personal and creative fundamentals of dancers.
All of this information brought my attention to one specific, internationally-renowned dance; las Sevillanas. Using this dance as a starting point, I could observe the different corporeal, transcultural, technical styles and ideas that it offers; both with bodies trained in contemporary dance, and those with no prior knowledge of Spanish dance.
In line with the results obtained, I considered the theory of Claudia Jeschke, in the chapter: Hispanomania in Dance Theory and Choreography, which reaffirmed my praxis.
“Spanish dances are symptoms of otherness given its mentality, not for authenticity; they can be discussed as examples of a new understanding of the body, space and time…” (Jeschke, 2009, p.45-46).
This idea led me to delve deeper into the subject; considering culture along with values and beliefs, as a starting point towards a reobjectification of knowledge of dance. By considering the cognitive capabilities of the dancers, subject to their own way of learning, I found a correlation with meaningful learning, which laid the foundations of the Transcultural Learning Path.
This work was supported by the department of Dance and Music at Anton Bruckner Privatuniversität, Linz, Austria.
It featured in the following festivals:
- Tabakfabrik Linz Festival 2014 by Rose Breuss Austria.
- Lange Nacht der Bühnen 2014, Austria.
- Traum Cultural Centre 2014, Austria.
- Flota festival 2014, Slovenia