Actividad

Actividad

CD CONTENTS. www.doropaedia.net

VIDEO SCREENINGS
Produced by Basurama

ROUND TABLE DISCUSSION
Emmanuel Rodríguez, publisher and researcher for the Metropolitan Observatory.
Carlos Fernandez Liria, Full Professor at the Faculty of Philosophy of the Complutense University of Madrid in the Department of Metaphysics and Knowledge Theory.
Jaime Palomera, anthropologist specialising in the conflict situations which emerged in the Parisian outskirts.

CONCERTS
Margarita
Cohete

Activity type
Dates
2009
Target audience
Topics
Entrance

Concerts by Margarita and cohete. Round table with Emmanuel Rodríguez, publisher and researcher for the Metropolitan Observatory; Carlos Fernandez Liria, Full Professor at the Faculty of Philosophy of the Complutense University of Madrid in the Department of Metaphysics and Knowledge Theory; Jaime Palomera, anthropologist specialising in the conflict situations which emerged in the Parisian outskirts.

Categoría cabecera
extrarradio
DOROPAEDIA#6 EXTRARRADIO
Is it a cycle?
Disabled

CD CONTENTS. www.doropaedia.net

MUSIC

New releases by:

ASTRUD

Intelligence and approachability come together in this duo, capable of combining electronic music with the most acoustic pop and of delivering everything from poignant ballads to dance-floor hits. Immune to fashions and trends, they spearheaded the revival of Spanish electro-pop from the 1980s, but this has never lessened their enthusiasm for the great pop idols or kept them from playing with every conceivable style. Now elevated to historic status, this duo is one of Spain’s best indie music bands.

JOE CREPÚSCULO

Joe Crepúsculo (born Joël Iriarte) is a Spanish singer-songwriter. Though he records as a solo artist, he is also the singer and keyboardist for a band called Tarántula. His work is characterised by unpretentious vocals, profound and surreal lyrics, and homemade instrumental accompaniment, all with a low-fi sound. Another remarkable thing about this artist is that he releases his albums under a Creative Commons licence and posts them on his website for all to enjoy.

Now, after his album SuperCrepus (Producciones Doradas 2008) was hailed by music critics as one of the best Spanish albums of 2008, this October he brings us his third album entitled Chill Out.

LA BIEN QUERIDA

In April 2009, this artist released her debut album Romancero, produced by David Rodríguez (LA ESTRELLA DE DAVID). With seven familiar songs from the rough cut and five new ones, Romancero is one of the most eagerly awaited albums of recent years, and it would not be an exaggeration to say that it will be one of the most important in the years to come. Ana asked David Rodríguez (BEEF) to produce her work with the idea of blending the superb creativity of LA ESTRELLA DE DAVID (David’s solo project) with clean sounds adapted to the friendly context of her melodies. The result is that Ana’s songs acquire a unique artistic dimension with David’s sonic inventiveness, and his skill shines brighter than ever when tamed by the naturalistic beauty of Ana’s songs.

This work by LA BIEN QUERIDA is one of the most eagerly awaited releases of Spanish indie-pop of recent years, and this is because everyone fell in love with her demo (chosen as the best of 2007 by Mondo Sonoro, featured in Rockdelux and played hundreds of thousands of times on MySpace, where her page is one of the most visited new artist sites). This album is undoubtedly one of the most talked-about debuts in the history of Spanish indie music.

MANOS DE TOPO

Manos de Topo is a pop band that intones (sur)real Spanish lyrics, a fact which has led some to describe their style as bizarre pop. They recently released their second LP, El primero era mejor [The First One Was Better], and their website offers the following explanation: “The first one was better – or perhaps not, but at least it was less painful.” While the first one raised some blisters, this second album twists the knife in the wound and leaves us convalescing. And while earlier comments highlighted a surrealist intention behind their lyrics, now we have no choice but hyperrealism. A lot of people wondered what Manos de Topo would do next after their acclaimed Ortopedias Bonitas. Well, the answer is here, and we can already hear the ghoulish fascination and a few sharpened pens lurking behind the door. Will they do it again? Even better: they take it one step further.

ESTRAPERLO

In progression. Permeable to any variety of pop music. Like history, Extraperlo doesn’t crawl: it advances by leaps and bounds. This is obvious if we consider how they have managed to mutate an uncomplicated, homegrown indie-pop to achieve the global sound of Desayuno continental. This Barcelona-based quartet has assimilated the variability of their restless pop with the ease of individuals who never tire of learning, of moving forward. Now they confidently stride ahead, absorbing the good and rejecting the bad, and embracing a stylistic crossover that knows no bounds.

VIDEO

VENGA MONJAS

Venga Monjas is the nom de guerre of Xavier Daura and Esteban Navarro, two students dedicated to the quest for intentions. They are both avid fans of the television programme “La Hora Chanante” produced by Paramount Comedy in Spain. Seduced by the absurd humour, bizarre aesthetics and made-up vocabulary of the “chanantes”, they decided to create their own show at home. Just over a year ago, this odd couple began to make home videos for which they did not use predetermined scripts, preferring instead to draw on their own stores of remarkably polished humour. With no particular aim in mind, they began to record, edit and upload the video clips they made to YouTube. Using rather vague yet suggestive titles like “Infancia prohibida” [Forbidden Childhood] or “Los postres de Tia Edwish” (Aunt Edwish’s Desserts), Venga Monjas continued to post a new chapter each month, building up a community of fans who wait with baited breath for a chance to watch the next ripia (what they call any video that can be seen online). There’s not much we can say about the contents of the videos: situations that jump back and forth from the commonplace to the absurd, grotesque skits, skirmishes, and incomprehensible references.

TEXT

DIEGO A. MANRIQUE

Manrique is considered one of the leading authorities on contemporary music in Spain and owns one of the most important music collections in the country.

He started out as a journalist with the weekly Triunfo. Manrique initially contacted the magazine to criticise the poor quality of the articles it published on rock music, and the editors suggested that he send them something better. Manrique accepted the challenge. Soon afterwards, he joined the staff of Radio Castilla in Burgos. In the 1970s and 80s he wrote for magazines such as Vibraciones, Rock Especial, Todas las Novedades and all kinds of other publications, provided they had a page dedicated to rock music.

In 1979-80, he worked with Carlos Tena on Popgrama, a show about the musical avant-garde broadcast by Televisión Española. In the following years they would meet again on the sets of Caja de ritmos (1983), for which Manrique was the screenwriter, and Pop Qué (1984). He also worked as a screenwriter for the television programmes ¡Qué noche la de aquel año! (1987) and FM 2 (1988).

Since 1992, he has hosted the show El Ambigú on Radio 3, a station operated by Radio Nacional de España. He combines this work with writing music reviews for the Spanish daily El País and its Sunday supplement El País Semanal.
Manrique still writes occasionally for the magazine Efe Eme, which he founded, as well as for Rolling Stone.

In May 2008 he was appointed deputy director of Radio 3.

He won the National Ondas Prize for radio in 2001.

In February 2009, he received the Backstage Award from the APM (Association of Spanish Music Producers).

IMAGES

ATLAS OF ELECTROMAGNETIC SPECTRUM

spectrumatlas.org

The Atlas of Electromagnetic Space is an interactive visualisation of the radio spectrum and a database of artistic and social interventions that have been developed in recent decades which rely on radio technologies. Projects are classified according to the frequency they occupy. The aim of the project is to create a clear and comprehensible visual tool that will allow users to understand how the frequency allocation system is structured and regulated and how it relates to everyday technologies such as radio, television, mobile phones, Wi-Fi networks and many more. But the most important goal of the Atlas is to create an archive of the most important and significant interventions in Hertzian space conceived and implemented by artists, designers, activists, hackers, social movements and other agents of civil society.

We believe that visualising this activity is necessary because it shows how alternative perspectives and interpretations of these technologies, and of the policies that regulate them, enrich their social and cultural potential beyond their designated uses. All of this cultural production is a prime example of how different social forces are demanding a participatory role in the political processes that govern the spectrum, in an arena where the telecommunications industries and the authorities have traditionally called all the shots.

Activity type
Dates
2009
Target audience
Entrance

New releases by Astrud, Joe Crepúsculo, La Bien Querida, Manos de Topo and Estraperlo.

Images gallery
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DOROPAEDIA#7 RADIO
Is it a cycle?
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CONCERTS

Lidia Damunt

En el cementerio peligroso
(Subterfuge Records)

Lidia Damunt is one of the great names in music. And when I say great, I don’t just mean one of the great names in Spain – I mean one of the great names, full stop.

We Spaniards may find it hard to believe that a composer from the beach town of La Manga del Mar Menor has earned the right to rub artistic shoulders with some of the supposedly unapproachable giants of the international scene, but the vertigo we experience when we listen to her songs leaves no room for doubt. Is it really possible that someone like this grew up in our own backyard? With her remarkable debut album En la isla de las Bufandas, Lidia found a unique niche halfway between Nashville (the cradle of country music) and Olympia (the pop capital of DIY culture). Now, with En el cementerio peligroso, she has taken another giant leap forward and made things a bit more difficult for us.

Lidia Damunt writes the songs others wish they could compose, presents the albums others wish they could record, and gives the concerts others wish they could give. So small that she can barely see us. So great because, for a moment, we can barely see anything but her. Roberto Herreros

www.lidiadamunt.com
www.myspace.com/lidiadamunt

GRABBA GRABBA TAPE
(Gssh! Gssh! Records)

GRABBA GRABBA TAPE are the electronic duo from Madrid, comprising Lol-oh-vot on vocals and percussion and Gros-oh-vot on keyboards and vocals.
They have been called the Iberian equivalent of Daft Punk (with a Moranco twist) and their music is simply fantastic: they come on stage dressed like pink snowmen and make music with robotic voices. They have already toured all of Europe several times and their albums have been released in the USA.

The duo were the torchbearers of the new batch of fresh, irreverent bands in Madrid that revolutionised the underground scene.

www.myspace.com/grabbatize
www.gsshgssh.com/GGTweb/

MONTAÑAS MONTAÑAS (7'')
Tres Pies

Montañas is a new Asturian group that has us worked up to a fever pitch of excitement. Their first live performances have already elicited comparisons to Beat Happening, The Feelies and Bananas. In their press release, they say that “in Montañas, we express what we like and what we don’t like about Asturias”. Quite a statement of intent.

On a carefully designed MySpace page, the list of highlighted friends can also furnish important clues about the band’s identity. On the Montañas page, these include Thelemáticos, Anticonceptivas, Chiquita y Chatarra, Grande-Marlaska and Le Mot, to name a few. It is curious to note that many of these bands have at least one member who lives outside Asturias; this may be a reflection of an Asturian generation forced into a diaspora which, in some cases, has served to strengthen ties of friendship and collaboration within bands despite the distance. In the case of Montañas, it has inspired the private jokes used in the song titles. Just explaining the titles would require a whole other entry. For example, the title of the song appearing in the first video, “Yo conduzco, ella me guía” [I Drive, She Guides Me], is taken from a bumper sticker that can be seen on thousands of cars in Asturias and refers to Our Lady of Covadonga (!). Montañas has not yet recorded any tracks other than the 30-second song posted on their MySpace page, but they should – the sooner the better. Iván Conte (La increíble verdad)

www.myspace.com/accidentesgeograficos

Activity type
Dates
2009
Entrance

Concerts: Lidia Damunt, Grabba Grabba Tape and Montañas Montañas.

Images gallery
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Doropaedia
DOROPAEDIA#5 GASTRONOMÍA
Is it a cycle?
Disabled

At CA2M, we believe that attention to gender diversity should be central to the programme of any contemporary art museum. This new pandemic year marks 40 years since the emergence of HIV, and touching has once again become something forbidden. This is why this project by choreographer Aimar Pérez Galí seemed a particularly apt choice to open LGTBQ+ Pride’s spotlighted week of demands, to which our programming tries to give voice and, above all, body in a sustained way throughout the year.

 

TOUCHING BLUES

When you start with a creative process, you never know where the path will lead. That is why we say that the act of creation is a kind of dialogue with the unknown, a close relationship with that of which we are unaware. In 2015, when Aimar Pérez Galí first began work on his project The Touching Community, he only knew that he knew too little about the impact of the AIDS pandemic on the dance community. He embarked on a project of research, seeking out survivors, reflecting and questioning himself, reading and writing letters to the dead dancers whose names and stories he learned. This was his way of confronting the silence that, over the years, has been used to conceal and forget the horror and pain caused by that pandemic, which still continues today. The project grew and branched in surprising directions as Aimar encountered people and their stories, as silenced names were spoken by the mouths of witnesses, as he received answers. First came the lecture-performance A system in collapse is a system moving forward (2016); then the stage performance The Touching Community (2016); followed by the exhibition The Touching Community / Correspondencia and the active work The Touching Community / Greenberg_1992, both in 2017. Next came the tactile research laboratories of the Touching Improvisation Lab (2017-2020), followed by the publications Lo tocante (2018) and Cuadernos sobre el tocar (2019). Finally, in an unexpected and almost surprising contribution, he released the video Touching Blues (2021) during the new pandemic.

Touching Blues, like the rest of the project, is made for commemorative reasons: we keep doing these things, we keep returning to the topic, because we still need to remember, listen to and celebrate the bodies of those who suffered and suffer from HIV/AIDS.  Blues is a laid-back, melancholy kind of music. And blue anchors the chromatic universe of this work of art. We learned about this blue from Derek Jarman and his ‘blue boys’; although this blue has something sad about it, strangely enough, it also has a bright, festive and celebratory note.

Before, we clung to living things and the inevitable vanishing that gives dance its natural quality because that is what allows us to relate directly to the bodies of the dead and to celebrate them through our skins. But now, given everything we are learning with this new pandemic, suddenly video - the ability to transform our bodies into a playable image - has taken on a whole new meaning.

Touching Blues is a two-dimensional image projected onto a vertical plane. This does not have all the complexity, infinite variety of points of view and foci that are possible with a live performance. It condenses all the multidimensionality of the present into a perfect square that appears to hang on a wall like a painting, like a two-dimensional image that can appear over and over again identically. Here, our bodies become patches of light that move on a screen, hypnotic textures that make us see what is no longer there, what has already happened and is already gone.

To do this, we first had to establish a single point of view; this point, suspended above our bodies, allowed us to see ourselves from above, an impossible spot from which no one had ever observed us before. But that was not enough; once our bodies became an image, pace Jackson Pollock, we had to once again ‘hang’ the (blue) floor that we had used as the ‘sand’ base of the action on the wall. In a way that might be called innocent, we have hung the picture on the wall once again, bringing a strange peace to it. It appears almost as if the time for struggle were over, as if a deep and unexpected calm had settled over the whole project once its weight was lifted off the ground.  It seems, therefore, that the rotation of the point of view and the shift to a vertical plane have given Touching Blues the ability to create a type of contemplation that almost becomes a subtle form of devotion. All of this only deepens the memory-focused nature of this project and our decision to honour and celebrate the bodies that came before us, those who were mortal victims of what we still call the ‘HIV/AIDS epidemic’ today. This mission took on a new shape thanks to the appearance of this new work and, of course, thanks to the Cultural Communication Bureau of the Universidad Nacional Autónoma de México through the following: El Aleph - Arts and Science Festival; Ingmar Bergman Special Programme in Cinema and Theatre; the UNAM Theatre Department; the UNAM Dance Department; the Chopo University Museum; and thanks also to the Espai d'Arts Escèniques Casal d'Alella (Barcelona). To them we extend our deepest gratitude for inviting us to continue imagining new dimensions of this project, a project that has done nothing but bring joy, happiness and knowledge to our bodies. 

Aimar Pérez Galí and Jaime Conde-Salazar s.u.s.

May 2021

 

 

Activity type
Dates
FRIDAY 25th JUNE
Target audience
Topics
Acceso notas adicionales

SALA DE USOS INFINITOS

Entrance

In late 2015, the Spanish choreographer and performer Aimar Pérez Galí began to study the impact of the AIDS epidemic on the dance community in Spain and Latin America. The resulting work, which makes use of the practice of ‘contact improvisation’, was built as a conversation with the ghosts of those who are no longer with us. This year, in which we are in the midst of a new pandemic, marks 40 years since HIV’s first emergence; once again, touch has become forbidden. This fact brings a fresh relevance to this project, which first took shape at a performance workshop for teachers at CA2M three years ago.

Categoría cabecera
Touching Blues
TOUCHING BLUES BY AIMAR PÉREZ GALÍ
More information and contact
Is it a cycle?
Disabled
Duration
18:30 – 21:00

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

During the two get-togethers we will explore our relationship with the city through music, performance and games in workshops that aim to be a reunion with other people, and is also outdoor fun that makes the most of our terrace. A Chotistón to commemorate the festivities and traditional festivals – called verbenas – that are celebrated on these particular days. A celebration that also belongs to Móstoles – the 2nd of May – that has given us our name; a festivity we want to partake in as spring awakes.

On the first two mornings of May, we’ll create a show-gift to the city we live in. We’ll consider Madrid as a subject to pay tribute to through music, a show, a form of scripted madness. Madrid’s identity will be looked at from a folkloric and playful point of view during a two-day workshop, the result of which may be presented – time permitting – to friends and family.

1st MAY: 10:00 –14:00h | 2st MAY:10:30 – 13:30h

Workshop by Clara Moreno Cela.

Clara Moreno Cela (1993, Madrid) is the daughter of woman who is a bookseller, artist and cultural mediator. Her work bounds between drawing, performance and music, and she loves using literature as a starting point for the creative process. Her solo musical project, called Clara te canta (Clara Sings for You), brings all her passions to light in a straightforward punk way. She likes producing pieces using everyday things and pours her energy into thinking about the function of intuition in Art, the relationships between different species, and supermarket conversations.

Activity type
Dates
1st and 2nd of May (mornings)
Topics
Acceso notas adicionales

Capacity: 15 people

Entrance

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

Categoría cabecera
Chotiston adultos
THE CHOTISTÓN. NEO-ZARZUELAS FOR SPRING IN MADRID
More information and contact
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Fotografía: @Raume116

Is it a cycle?
Disabled
Duration
The workshop lasts 2 days

The conjunction was inevitable. While Filmoteca Española (FE), jointly with the publishers Cátedra, were publishing the book La codorniz (de la revista a la pantalla y viceversa), by Aguilar and Cabrerizo, Centro de Arte 2 de Mayo (CA2M) was preparing the exhibition “Absurd Humour” and the book of the same name by the curator Mery Cuesta. To a certain extent, they were forced to get on and, as was the case in hand, “to associate together” in order to jointly imagine a shared variety show. And so, driven by the unbridled imagination of the current confinement, this double programme came about with an evident desire to strike up another equally necessary coupling: a bridge between two generations of comedians with several decades between them. Does the blood of Codorniz humour run through the veins of Chanante humour and its contemporary derivates?

FE and CA2M organized a series of events and rereadings of filmic creations that arose around the satirical magazine La Codorniz run by some of the most outstanding voices in absurd humour today. The playful, surrealist quality of the folly unquestionably runs through the veins of these proposals which, in the second programme, focus on a direct intervention in creations from the past through the optic of the present moment. While Joaquín Reyes dubs fragments of Noticiario de Cine-Club newsreels featuring intellectuals and forward-thinkers from Madrid and Barcelona in 1930, the Tono & Mihura’s “humoristic production” called Un bigote para dos [A Moustache For Two]–“a stupid film for serious people”—is given a revamp by the hands (and voices) of the humoristic practices of Juan Cavestany, Julián Genisson and Lorena Iglesias (members of the Canódromo Abandonado collective) and Venga Monjas.

CAs if they were Jardiel Poncela’s parodic overdubbings of silent movies called “celuloides rancios” now updated to the digital era, the double programme “A Moustache for the 21st Century” goes to clearly show the generational transmission of a kind of nonsense logic humour that ran through Spanish films for many decades, and which is still alive today (at least we believe so) in more contemporary humoristic practices. The connections between Tono & Mihura and Venga Monjas, or between Neville and Joaquín Reyes, emerge naturally, revealing the staying power of absurd humour as a sign of identity of Spanish culture. At the same time, Chanante humour is paired directly with its spiritual forebears, raising absurd laughter. And so to paraphrase the fairground huckster in Verbena: “Step right in [ladies and gentlemen]! Have we a just and moral show for you!”.

SESSIONS

CODORNICESCAS PRESENTATIONS | From 22 May

A whole series of audiovisual productions sprung up around La Codorniz, the most iconic satirical magazine in the history of Spanish popular culture. Today these productions are revisited (and recommended) by the researchers Aguilar and Cabrerizo and the filmmaker Carlo Padial (Algo muy gordo, 2017).

_ Verbena (1941), by Edgar Neville [31 min]. Presentation by Santiago Aguilar and Felipe Cabrerizo.
Don Viudo de Rodríguez (1935), by Jerónimo Mihura [14 min], + El corazón de un bandido (1968), by Chumy Chúmez [7 min]. Presentations by Carlo Padial.

SCREWBALL OVERDUBBINGS | From 5 June

The practice of screwball overdubbing, the audiovisual sound and image collage, is an excellent way of creating an absurd humoristic effect. Thanks to Tono & Mihura’s Un bigote para dos, their 1940 screwball film, a comedy rewriting of the dialogue of a Johann Strauss biopic, and to Jardiel Poncela and his “celuloides rancios”, these redubbings were hugely popular back in the 1940s. Today we have chosen the filmmaker Juan Cavestany (Gente en sitios, 2013) and two comedian duos, Julián Genisson & Lorena Iglesias and Venga Monjas, to revisit this vintage comic practice from Spanish culture and to make a new dubbing for Un bigote para dos. The programme is rounded off with a dubbing by Joaquín Reyes, in the style of his “Retrospecter” or “Mundo viejuno” sketches, of a newsreel directed by Giménez Caballero.

Noticiario de Cine-Club (1930), by Ernesto Giménez Caballero [31 min]. Fragment dubbed by Joaquín Reyes.
Un bigote para dos (1940), by Tono y Mihura [64 min]. Dubbed by (in order of appearance) Juan Cavestany (subtitling) / Julián Genisson & Lorena Iglesias / Venga Monjas.

Activity type
Dates
A partir del 22 de mayo
Target audience
Topics
Acceso notas adicionales

Ciclo de cine online

Entrance

Filmoteca Española and CA2M organized a series of events and rereadings of filmic creations that arose around the satirical magazine La Codorniz run by some of the most outstanding voices in absurd humour today.

Resources
Subtitle
GENERATIONAL TRANSMISSION OF ABSURD HUMOUR AND AUDIOVISUAL FOLLY
CA2M & FILMOTECA ESPAÑOLA ONLINE FILM SEASON
Categoría cabecera
Cupletista con barba en Verbena (1941), de Edgar Neville
A MOUSTACHE FOR THE 21ST CENTURY
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Cupletista con barba en Verbena (1941), de Edgar Neville

Is it a cycle?
Disabled
Duration
2 sesiones

Last spring we started a workshop for all kinds of bodies which, at the same time, have had all kinds of experiences on dancefloors, parties and festivals. The proposal consists in practicing in trios a series of classic dances for two. We will try to imagine what it is like for three people to dance a tango, a pasodoble or any other dance step. Perhaps it will be much more difficult to follow the rhythm and the steps, but maybe in doing so we will discover new ways of moving.

Tania Arias Winogradow is a dancer, choreographer and now a mother. She works collaboratively with other artists and continues looking for allies to improve her Russian.

Activity type
Dates
14 April - 26 May 2020
Target audience
Registration
-
Topics
Entrance

A workshop for all kinds of bodies which, at the same time, have had all kinds of experiences on dancefloors, parties and festivals. The proposal consists in practicing in trios a series of classic dances for two.

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Taller de baile impar. Sue Ponce
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Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
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Baile impar_Foto María Eugenia Serrano Diez
Odd-Numbered Dance Workshop
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Fotografía: María Eugenia Serrano Diez

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Fotografías: Sue Ponce.
Is it a cycle?
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