We interviewed EYAS Dance project

Tell us a little about the work done in the Laboratorio.
How has this experience been for you?

Our experience in the Laboratorio was beautiful and full of continuous growth. We are very grateful to have had the opportunity to work with a large group of dancers, with diverse backgrounds in dance, which were opened to our language and vision from the first minute, always with much desire, warmth and professionalism. The process was rich, very intense and full of positivity, where we all learned from everyone.
Where does your inspiration come from?

As artists and creators, we are inspired by many different places. Our main interest as choreographers is in the search and investigation of movement and its many aspects. For this we use various tools such as fantasies, dynamics, textures, shape, sensations, volume, changes of physical stories, gestures, delicacy and explosion. We spend hours together in the studio and we inspire each other to create and challenge our work.

In our way of working, we are very influenced by the different teachers and choreographers with whom we have worked, especially the teachers of Gaga, who have been important mentors for us. When we investigate, we take inspiration from various principles of the Gaga movement language, which has been a great tool to guide us in HOW to work, create and communicate dance.


What are your artistic references?

Ohad Naharin has been and is a great influence for us. In our professional career in Europe, we had the privilege of working with various Israeli choreographers. Among them, Noa Zuk, choreographer and ex-dancer of Batsheva Dance Company. She supposed the great turning point in my career as a dancer and creator, which was more accentuated when I later met Adi Salant, choreographer, artistic co-director of Batsheva and right hand of Ohad Naharin for many years. These two great women (and others who left me in the ink) not only made me grow artistically and fall in love with Gaga, but also taught me a lot as director and choreographer. Undoubtedly, one of the most important things that we take from that trip is the conscious choice in the workspace of communication through positivity, respect and trust.

Ultimately, we believe that like all artists, we are the culmination of all our mentors and their many voices and teachings, which we carry with us in our work with pride and admiration.


What do you think is the place of contemporary dance today? What role does it play in our society?

In our society, especially in the contemporary artistic community (cinema, dance, music, etc.), the aspect of entertainment in creation is usually less interesting. In general, we are more attracted to human or realistic representation and personal, political and social human experiences, rather than superficial spectacle. We believe that dance has the capacity to reflect all those things, but it does not have to do it. We believe in the ability and power of dance to communicate and express for itself through those aspects that are innate to it and that can make the viewer travel without the need to intellectually understand a specific dramaturgical thread.

We believe that the beauty of contemporary dance lies in the many different approaches it can take, with the possibility that each artist can develop their work in the way they want without contradicting or subtracting validity from other artists who decide to approach their work in one direction. different We believe that all visions can coexist and even inspire each other.


What perspectives do you have as artists in Madrid? What would you like to contribute?

We want to continue promoting the EYAS Dance Project, with the clear objective of achieving a situation of medium stability in which we can offer our invited dancers and choreographers the working conditions and adequate financial means. We believe that positivity, intention and effort are the way to work towards these objectives, and that although in Spain it may be something more complicated, we believe that at the end of the day what one projects with force, is what is already happening in some level, even in a seed of thought, and therefore, in some way is already a reality.

We want to offer Madrid our vision of dance, since in general, the direction of contemporary dance in Spain has another direction and follows another type of lines (completely valid) that are slightly different from our proposal. We believe that we have something a little different to offer, with what, perhaps, the public and the dancers are less familiar. We hope that people connect with our work and this generates an interest in discovering another approach to dance and movement.

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