SharonJuanqui
SharonJuanqui
Dança
Dance
Performance
Performance
Dramaturgia
dramaturgy
Bolívia
Bolivia
Juanqui Arévalo O seu trabalho conjuga coreografia, dramaturgia e performance. É cofundador de BORDER - Laboratório de Investigação para o Palco, curador de INMATERIAL - Residência para as Artes Vivas, diretor de CUERPOANIMAL - espaço de ensaio em dança contemporânea. Participou em festivais de dança, teatro e artes vivas na Bolívia, Brasil, Chile, Coreia do Sul, Paraguai e Peru. Participou na Plataforma Internacional Movimiento SUR 2016 (Chile), Seoul International Dance Festival, Dance Exchange Residency (Coreia do Sul), II Programa de Formación del Colectivo La Vitrina (Chile) e no Programa de Formación y Creación Artística Expresarte, do Centro Cultural de Espanha em La Paz e no Museo Nacional de Arte (MNA). Estudou dramaturgia com Percy Jimenez. Trabalhou na Compañía Vidanza, na Filarmónica de La Paz, nas companhias Textos que Migran, Arfuy Teatro, Escena 163, Oveja Negra e com os coreógrafos Boukje Schweiman (Holanda), Henrietta Hörn (Alemanha) e Fabien Prioville (França), entre outros.
Juanqui Arévalo His work combines choreography, dramaturgy and performance. He is the co-founder of BORDER - Research Laboratory for the stage, the curator of INMATERIAL - Residence for the Living Arts and the director of CUERPOANIMAL - space for rehearsal in contemporary dance. Participated in dance, theater and live arts festivals in Bolivia, Brazil, Chile, South Korea, Paraguay and Peru. Participated in the International Platform “Movimiento SUR 2016” (Chile), “Seoul International Dance Festival”, “Dance Exchange Residency” (South Korea), “II Program of Formación del Colectivo La Vitrina” (Chile) and the Program of “Formación y Creación Artística Expresarte”, by the Cultural Center of Spain in La Paz and the National Art Museum. He studied dramaturgy with Percy Jimenez. He worked at Compañía Vidanza, at the La Paz Philharmonic, at the companies Textos que Migran, Arfuy Teatro, Escena 163, Oveja Negra and with the choreographers Boukje Schweiman (Netherlands), Henrietta Hörn (Germany) and Fabien Prioville (France), among others. SHARON MERCADO NOGALES (1994/ Bolivia) dancer /performer/ choreographer Based in Berlin. She studied dance at the EBO Bolivia and with the Wayruru Project in La Paz, currently she’s finishing her B.A. in Dance, Context, Choreographie at HZT Berlin. Her artistic language is composed of autobiographical materials and different elements from Bolivian culture such as traditional dances and rituals, bringing them into a contemporary realm, where the playfulness between the music, dance and their deconstruction generates new patterns and signifiers that attempt to trigger the current cultural spectrum through movement, creating practices that aim to decolonize art and body. She collaborated in Bolivia as a dancer and choreographer with Proyecto Wayruru, Proyecto Kullakita, ArteMovida, Proyecto Border, Compañía Katak, Yumi Tapia Higa, Daniel Leguizamón, Miguel Llanque, in dance pieces that were shown in different festivals around the country and in Germany with choreographers and visual artists such as Maque Pereyra, Dorota Michalak, Ola Winnicka, Amanda Piña, Jorge Villaseca and Paola Bascon. Her own works include Profundo Sereno (2014) awarded Best Solo by “Premio Plurinacional Eduardo Avaroa”, Ch'iwi,(2016), Immerse (2017), La Práctica del guerrero interior (2018), Dynamics of rain season(2018), Katari (2019) and Drink up mi amor (2020). Currently she is developing a Technocumbia dance practice as part of her decolonial body practices.
Laboratório:
Laboratory:
Espetáculo:
Show:
Projeto
Danzarín, ina
Project
Danzarín, ina

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. 





danzarín, ina (adj.)
1. m. y f. bailarino, pessoa que dança com habilidade.
2. Pessoa de pouco juízo. Quem se intromete, opina sem fundamento suficiente ou julga sem bases sólidas. Este trabalho nasce do desejo do encontro entre dois bailarinos e de como eles se podem relacionar com os dois sentidos da palavra dança, considerando a dualidade de sentidos entre o que os bailarinos fazem e o que dizem; para detonar diálogos possíveis, ressonâncias, oscilações, atritos e discrepâncias entre a ação / performatividade e o textual / verbal e entre as individualidades de ambos os envolvidos. Este trabalho é uma prática de encontro.
O projeto parte de uma partitura coreográfica que provoca passar a escrita para o corpo e deste de volta para a escrita, permitindo que a partitura seja constantemente atualizada, mantendo-a em movimento, para entendê-la como um organismo vivo. Esta partitura será, assim, editada, intervencionada e reescrita pelos envolvidos durante o processo de criação. Uma vez concluído o processo de criação, a partitura assumirá uma nova natureza e versão, gatilho para um projeto futuro, que seguirá a mesma metodologia sempre que voltar a ser concretizado, complexificando e desestabilizando os conceitos de autoria e possibilitando uma escrita cumulativa, horizontal e alimentada por várias vozes e experiências.

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. 

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.