MYRIAM PEREZ CAZABON

CHOREOGRAPHER | DANCER | EDUCATOR

MYRIAM
PEREZ
CAZABON

CHOREOGRAPHER
DANCER
EDUCATOR

She takes her first steps in the dan­ce world bet­ween Donos­tia-San Sebas­tián and Irun. She com­ple­tes her higher stu­dies in Con­tem­po­rary Dan­ce at CODARTS (Rot­ter­dam).

Myriam has deve­lo­ped her work as a cho­reo­grapher, per­for­mer, and teacher in the field of con­tem­po­rary dan­ce sin­ce 2004, empha­si­zing her inte­rest in colla­bo­ra­ting with various arts such as music and sound art, thea­ter, film, pho­to­graphy, visual arts, and literature

Dri­ven by per­so­nal moti­va­tions and the need to del­ve into a cho­reo­graphic lan­gua­ge of her own, she began her career as a crea­tor in 2016. In 2026, she recei­ved the sup­port of Dan­tzaz as a Lighthou­se Artist, ser­ving as an impul­se toward con­so­li­da­ting her work in this field.

“My pri­mary con­cern is to make con­tem­po­rary dan­ce a more acces­si­ble dis­ci­pli­ne; to see peo­ple on sta­ge, rather than dan­cers. Hen­ce my per­se­ve­ran­ce in inves­ti­ga­ting what beco­mes of a dan­cer when they don’t have to dance—who or what is hiding behind the choreography—and my desi­re to che­rish the sti­llest, quie­test scenes.”

NERI(H)ARI

NERI(H)ARI

After seve­ral years of deve­lo­ping cho­reo­graphic work, she launched her own com­pany in 2016, thanks to a grant from the Bas­que Govern­ment and the sup­port and colla­bo­ra­tion of Gipuz­koa­ko Dan­tza­gu­nea and Donos­tia Kul­tu­ra. Myriam Perez Caza­bon deci­ded to esta­blish her per­so­nal work under the name NERI(H)ARI, as a plat­form that brings together diver­se and inter­dis­ci­pli­nary pro­jects in colla­bo­ra­tion with various artis­tic dis­ci­pli­nes, inc­lu­ding music, film, thea­ter, and photography.

She unders­tands dan­ce as a reflec­tion of the emo­tio­nal intri­ca­cies of the human expe­rien­ce, silen­ce as a medium of com­mu­ni­ca­tion, and still­ness as a form of move­ment, empha­si­zing, abo­ve all, the rele­van­ce of pre­sen­ce and the gaze.

She defi­nes her lan­gua­ge as ‘clear’ con­tem­po­rary dance—refined, trans­pa­rent, and pre­ci­se. Thus, she seeks to pre­ser­ve poe­tics and ima­gery, the vul­ne­ra­bi­lity of the crea­tor-per­for­mer, and the visi­bi­lity of crea­ti­ve pro­ces­ses. Inter­dis­ci­pli­na­rity is also cen­tral, taking the plas­ti­city of story­te­lling as the com­mon thread of her per­so­nal research, with the aim of rein­for­cing the value of dan­ce as a tool for trans­mis­sion and communication.

The deci­sion to work from a pla­ce of small­ness and pro­xi­mity is the strength of her prac­ti­ce, lis­te­ning to and valuing the methods of crafts­manship and the ‘Arts of Care’.