- 5. Liquid Evolution (excerpt) - FFTA for World Listeni...
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Fruit For The Apocalypse posted this video about 1 month ago.
5. Liquid Evolution
Composer Gregory Emfietzis and choreographer
Mariana Lucia Marquez weave together sound and
movement developed from her daily dance
meditations by Lavender Pond and the Thames in
South East London. In dialogue with musicians Myrto
Loulaki (singer, multi-instrumentalist) and Guilermina
Chivite (violin) of Metapraxis Ensemble, Marquez
renders an in-the-moment interpretation of Emfietzis'
score.
Sound: Gregory Emfietzis
Movement: Marina Marquez
Musicians: Myrto Loulaki
Guilermina Chivite
Costume: Monica Soto Paredes
- A woman performs movement tasks in random order (2010)
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Mariana Lucía Marquez posted this video 4 months ago.
19 movement tasks are shuffled randomly by a computer program. The dancer/ choreographer embodies the tasks as they come. Her goal is to freely interpret the language in each task by consciously letting go of any specific patterns that may derive from her previous performances of it.
This live interpretation together with the random shuffling of the tasks delivers a different chronological order and movement content (arguably, a different meaning) each time she dances it.
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Choreographed and performed by Mariana Lucia Marquez
Costumes by Monica Soto Paredes
Computer programming: Hakan Ensari
Notes: Deborah Hay's quote is from her book "Lamb at the Altar", Duke University Press (May 1994)
- Danza Interactiva #1 (2007)
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Mariana Lucía Marquez posted this video 8 months ago.
In early 2007, I created an experimental “interactive dance” project and invited some of my students to dance in a non-conventional setting. Born from my growing interest in the performance experience itself, the dance explores the assumptions that both audience and dancers have in a proscenium set-up.The audience is handed a card with a set of instructions that allow them to move around the performers by responding to music cues or create their own. The dance is structured around a circle that invokes a sense of community, drawing from the tradition of circular dances.
For the movement, I proposed a series of task-based improvisations that foreground how we are affected by the different proximities of a participatory audience.
We showed it at "Encuentro de Danza y Performance 07" in Buenos Aires.
- Drawing the Line (2005)
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Mariana Lucía Marquez posted this video 8 months ago.
Living in New York through the polarising aftermath of September 11, I choreographed this solo to express my feelings on the hypocrisy of war in the name of freedom. The dance juxtaposes the distraction of everyday consumption and the devastation of war.
Filmmaker: Pablo DiZeo
Music: Add (N) to X, Radiohead
- X-ing (2005)
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Mariana Lucía Marquez posted this video 8 months ago.
In late 2004 I founded the short-lived WHAI DANCE Choreographers Collective. Taking "walking" our theme, we each choreographed parts of this 40-minute work about our individual/ collective experiences of New York City life. I did both artistic and production direction.
Dancers: Heather Griffith, Jessie Flores, Awilda Rodriguez, Werusca Shea, Emily Todras, Jessica Winograd.
Music (in this excerpt): Depeche Mode
Costumes: Homemade
- In-dependence (2005)
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Mariana Lucía Marquez posted this video 8 months ago.
This duet came about as a remake of a 2002 work, only that most of the original choreography, costumes, and music were replaced in the process. We did manage to keep the theme intact!
Created and performed with Awilda Rodriguez
Original music and sound montage: Juan Cruz Masotta
- Volare (2004)
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Mariana Lucía Marquez posted this video 9 months ago.
A follow up duet to "La femme qui voyage". Choreographed and performed in collaboration with Jill Schaffner. Original music by Juan Masotta (www.juanmasotta.com)
- elevator dance (2004)
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Mariana Lucía Marquez posted this video 8 months ago.
In collaboration with Awilda Rodriguez, we performed exaggerated movements for the 6-floor elevator ride that took the audience to the Alumni Dance Concert at Hunter College. There were a variety of reactions from college students who happened to take the lift and even an intrusion by a very angry guard who considered our cellophane decorations a security hazard.
- La femme qui voyage (2003)
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Mariana Lucía Marquez posted this video 8 months ago.
My senior project at Hunter College Dance Program in New York. This dance speaks of my experience as a young Argentine woman traveling back and forth between Buenos Aires and New York. In it, you will find my feelings about airports and air travel, arriving in and adapting to the new city, and the need to minimise baggage, both literally and psychologically, while moving around.
Danceworker
Mariana Lucía Marquez
I am an Argentine choreographer based in London. I have been making dances since 2000 and have shown them in different venues in New York and Buenos Aires. Upon graduating with a BA Dance and receiving the Honors Award from Hunter College, New York, I furthered my choreography studies with Susan Rethrost, John Jaspers, Tere O’Connor and Deborah Hay among others.
At age 19, my dad told me “there’s only one Baryshnikov in a million,” following which I carried my wounded ego to New York to become a choreographer. Luckily, since then, I have found that what makes a performer great is not only physical virtuosity but also the ability to bodily reveal one’s ongoing process of self-awareness.
My early choreography followed the traditional “phrase-making” approach within the contemporary dance vocabulary. While the subject matter varied widely -- from air travel to relationships and the war in Iraq --, it was always autobiographical. Later, I began to look for ways to “loosen up” heavily-choreographed movement without slipping into improvisational babble.
Deborah Hay is the one choreographer whose creative methodology changed my appreciation of dance and my approach to dance-making. I discovered a new paradigm in which the dancer’s spontaneous choices can (and should) be part of the choreography.
mariana@danceworker.com