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 gets further Higher Edu­ca­tion in Con­tem­po­rary Dan­ce in CODARTS (Rot­ter­dam).

Her tra­jec­tory in crea­tion, edu­ca­tion and inter­pre­ta­tion starts in 2004, laying a spe­cial inte­rest in colla­bo­ra­ting with dif­fe­rent Arts, such as music (Mur­se­go, Elle Bel­ga), thea­tre (Hika Tea­troa), cine­ma (Ake­la­rre), pho­to­graphy (Nago­re Lega­rre­ta, Aitzi­ber Orko­la­ga), mul­tids­ci­pli­nary ins­ta­lla­tion (Larraitz Torres, Rqer-Eva Villar), sculp­tu­re (Chi­lli­da Leku Museum) and of cour­se, dan­ce (Ai Do Pro­ject, Kukai, Red Ata­lak 2.0, Node, Doos Colectivo).

Dri­ven by her per­so­nal moti­va­tions and the need of get­ting dee­per into a cho­reo­graphic lan­gua­ge of her own, she starts her own com­pany in 2016, hel­ped by the fun­ding of the Bas­que Govern­ment and the sup­port and colla­bo­ra­tion of Gipuz­koa­ko Dan­tza­gu­nea and Donos­tia Kultura.

“It is my con­cern, abo­ve all, to make of con­tem­po­rary dan­ce a clo­ser dis­ci­pli­ne; to see per­sons on sta­ge, rather than dan­cers. Hen­ce my per­se­ve­ran­ce on inves­ti­ga­ting what beco­mes of a dan­cer when she doesn’t have to dan­ce, who or what is hiding behind the cho­reo­graphy; to che­rish tho­se sce­nes that are the quie­test and most silent.”

NERI(H)ARI

NERI(H)ARI

After seve­ral years deve­lo­ping cho­reo­graphic work, Myriam Perez Caza­bon deci­des to shel­ter her work under the name NERI(H)ARI, whe­re diver­se and mul­ti­dis­ci­pli­nary pro­jects can accom­mo­da­te together, in colla­bo­ra­tion with dif­fe­rent art dis­ci­pli­nes such as music, cine­ma, thea­tre or photography.

NERI(H)ARI ‑a spa­ce devo­ted to her per­so­nal creations‑, is whe­re Myriam Perez Caza­bon unders­tands dan­ce as a reflec­tion of emo­tio­nal ins and outs,  silen­ce as a way of com­mu­ni­ca­tion and still­ness as a form of move­ment, empha­si­zing, pri­ma­rily, pre­sen­ce and gaze.

She defi­nes her work as sharp con­tem­po­rary dan­ce, that is to say, clear, trans­pa­rent and accu­ra­te. And inter­dis­ci­pli­nary, fos­te­ring its com­mu­ni­ca­tion and trans­mis­sion value.