TRANSMISSION-MEDIATION

“Dan­ce is in everything; dan­ce is in everyone”

Throughout her pro­fes­sio­nal career, Myriam Perez Caza­bon has inter­wo­ven three strands of work — crea­tion, per­for­man­ce and teaching — allo­wing them to sup­port and nou­rish one another.

She began her work in teaching and pas­sing on con­tem­po­rary dan­ce in 2004, carr­ying out her acti­vi­ties in various cen­tres and public and pri­va­te venues across the Bas­que Country through regu­lar clas­ses and one-off workshops. She has sha­red her know­led­ge and her approach to con­tem­po­rary dan­ce with par­ti­ci­pants of all ages — chil­dren, adults and older peo­ple, both pro­fes­sio­nals and ama­teurs —, a role she con­ti­nues to ful­fil today.

She empha­si­ses the great­ness of small ges­tu­res and the power of the most deli­ca­te move­ments, encou­ra­ging the search for mea­ning and expres­si­ve­ness in the crea­tion of poe­tic bodily narratives.

She approaches dan­ce in much the same way as wri­ting, deve­lo­ping it synesthe­ti­cally through the dia­lo­gue and inte­rac­tion of dif­fe­rent artis­tic dis­ci­pli­nes. Expe­ri­men­ta­tion, explo­ra­tion, impro­vi­sa­tion, and play are cen­tral to her practice.

She pla­ces par­ti­cu­lar impor­tan­ce on presence—on being and being the­re—and, in con­nec­tion with this, on the neces­sity and authen­ti­city of move­ment. One of the cen­tral pillars of her dan­ce lan­gua­ge and move­ment prac­ti­ce is the cul­ti­va­tion of the gaze: a deep explo­ra­tion of the narra­ti­ve poten­tial of looking.

In recent years, she has also been invol­ved in colla­bo­ra­ti­ve media­tion pro­jects. Through con­tem­po­rary dan­ce and move­ment-based expres­sion, her aim is to bring the expe­rien­ce of dan­ce clo­ser to diver­se indi­vi­duals and com­mu­ni­ties whi­le ope­ning up mul­ti­ple pos­si­bi­li­ties for action, expan­sion, and pre­sen­ce through the body. In other words, she seeks to help ever­yo­ne feel that dan­ce is clo­se to them, to let dan­ce embra­ce every per­son, and to make dan­ce acces­si­ble to all.

“Diver­se bodies; diver­se dances”

In her media­tion pro­jects, Myriam posi­tions her­self in the spa­ce bet­ween con­tem­po­rary dan­ce and peo­ple, acting as a brid­ge, fos­te­ring mutual attrac­tion, and inte­gra­ting the deve­lop­ment of crea­ti­vity and ima­gi­na­tion into practice.

She the­re­fo­re sees her role as a media­tor as one aimed at brin­ging to light and expan­ding dan­ce, crea­ti­vity and ima­gi­na­tion: resour­ces that are inhe­rent in all bodies and valua­ble for sha­ping the narra­ti­ves of every indi­vi­dual and every collective.

NERI(H)ARI

(spa­ce and time devo­ted to per­so­nal pro­jects — a lo mío)

(con­nec­tion bet­ween Myriam and the audien­ce; affec­ting one another)