Performance

Cha-cha-cha at dawn at dawn cha-cha-cha

Cha-cha-cha the backside the backside cha-cha-cha

Cha cha beach hammock idler

Idler hammock beach cha cha

Cha cha apple orange pineapple

Pineapple orange apple cha-cha-cha

Cha-cha-cha square palm trees tra-la-la

Tra-la-la palm trees square cha-cha-cha

Cha-cha-cha boats barbed wire boom-boom-boom

Boom-boom-boom barbed wire boats cha-cha-cha

Cha-cha-cha on the phone on the phone cha-cha-cha

Cha-cha cha-cha word

Word cha-cha-cha

In little more than a decade, the body has moved from the sidelines to a become a focal point of contemporary culture. For this shift to fully unfold its potential, it is necessary to pay attention to the way our materiality articulates with our surroundings. Word cha-cha-cha explores turning points in which bodies are given shape by words, and vice versa, through the paradigm of expanded language. Ambivalently, this language of blurred boundaries both produces and is the result of movement, sound, images, automatisms, feelings, economy and modes of social organisation. This programme proposes a series of performances that bear partial witness to the complexity with which these elements intertwine and affect each other.

Language no longer belongs to humans alone but, in a return to the fable of sorts, animals, objects and natural elements murmur in our ears. On the other hand, the certainty of signifiers fades when confronted with the infinite variability of models and the multiplicity of possible interpretations. In this realm where vagueness reigns, every sentence we utter is a spell, a door we open without knowing where it leads. By questioning the mechanisms for naming and their relationship with things, there is also interference with established dynamics, and possibilities emerge that are beyond the imaginable.

Through choreographies, poems, songs, whispers, shouts, rumours, spells, films without images, the clacking of castanets, familiar languages, obscure languages, unusual translations, incarnated books and newspapers, the language of birds and computers, we may temporarily lose our speech and be forced to search for words. Who knows if we will find different ways of expressing thought to, facing, before, below, fitting, with, against, about, from, since, after, during, in, between, towards, until, for, by, according to, without, under, over, behind, versus, via the silhouette of clouds, the bottom of pockets or the dregs of coffee.

Curated by Quim Pujol

Early 19th-century London witnessed the founding of The Picnic Society, an association that would meet regularly in the open air, at which time each member was expected to provide some of the entertainment and refreshments without there being a specific host. Borrowing this concept from the Picnic Society, the CA2M Museum invites a number of curators each year to design a programme for the Museum’s roof terrace.

Every Thursday from the end of May until the end of June, our roof terrace is turned into a space for hosting a programme of activities that combine body and sound with education and participation. 

PROGRAMME

Thurs 25/05 I Llorenç Barber. ACTUM REENACTMENT. Javi Álvarez.

Thurs 01/06 I Juf (Leticia Ybarra + Bea Ortega Botas), Pol Jiménez, Matthieu Blond.

Thurs 08/06 I Park Keito (Kotomi Nishiwaki + Miquel Casaponsa), Joris Lacoste, Noela Covelo. 

Thurs 15/06 I Paula Miralles, Josep Xortó & The Congosound.

Thurs 22/06 I Alix Eynaudi, Clara Amaral, Simon Asencio.

Thurs 29/06 I María Jerez +Élan d’Orphium, Laura Llaneli, Venecia Flúor.

TIMES: 9–11PM, EXCEPT FOR THE SESSION ON 29/06 WHICH WILL START AT 8:30PM

DOORS OPEN AT: 8:30PM. PLEASE BE ON TIME.

SELF-PUBLISHING TABLES

Thurs 25/05 I CAJA NEGRA

Thurs 01/06 I CANICHE

Thurs 08/06 I LA UÑA ROTA

Thurs 15/06 I CONTINTA ME TIENES

Thurs 22/06 I LIBROS DE ARTISTAS

Thurs 29/06 I VARAMO PRESS

ABOUT THE CURATOR

Combining the performing arts and contemporary art, Quim Pujol’s artistic practice denatures language to reveal the ideology that lies behind ordinary modes of expression and to open up other possibilities of association. The latest pieces by this iconoclastic writer and performance artist are El mensaje de otros mundos (2021) and Variedad de variedades (2022). He has participated in exhibitions at arts centres such as the Fundació Antoni Tàpies, La Capella and the EACC. Together with Ixiar Rozas, he edited the book on affect theory Ejercicios de ocupación (Ediciones Polígrafa, 2015). He curated the experimental programme of the Mercat de les Flors (2011–2015) and collaborates with the Observatorio del Placer.

Acknowledgements: Berta Gutiérrez Casaos.

Obituary is a live monologue performed by the artist which falls apart and eats itself.

Combining characters and motifs from past work, the performance acts as a parody of Plato’s cave and an expansion of the language found in Matt Copson’s animation and installation work.

This is his first fully-fledged performance with live soundtrack by long-time collaborator felicita.

MATT COPSON

Matt Copson was born in 1992 in Oxford, England. His work uses theatrical devices and artistic tropes to create existential dramas of contemporaneity, abstraction, eternal recurrence and the uncanny.
His shown exhibitions and projects at CLEARING (Brussels) Swiss Institute (New York), Louis Vuitton Foundation (Paris), Mönchehaus Museum (Goslar) and Serpentine Sackler Gallery (London). In 2022, he will premiere ‘Last Days’, his first opera as a librettist and director, at the Royal Opera House, London.

“EXPOGRAPHY is the physical-mental-time space in which the fact of seeing and the fact of being seen converge: what we are and what we experience when looking, what we are and what we experience when we are looked at, and what vision is in itself, as something half way between the capacity of the viewer and what emanates from the viewed object. To be activated, any exhibition needs these three terms—the viewer, the viewed and the vision—which, to a certain extent, converge in one single space-time-event-experience.

On the other hand, EXPOGRAPHY is a reflection on the Museum and on Theatre: what happens in each one of these places; the codes governing time and the audience’s relationship with the work imposed by each individual space. We propose the game of altering these codes and experimenting with what is produced as a result. We propose forcing a certain perspective, situating ourselves in places which are physically and temporally different to the usual, and observing the effects these variations produce in us.

The EXPOGRAPHY project takes the form of two totally different works which are the result of the complete deployment of this whole research: COLLECTIVE EXPOGRAPHY and RETROSPECTIVE EXPOGRAPHY. The first work is presented on Saturday 12 January here at CA2M, playing with the temporality of the museum, which requires a commitment from spectators to remain in the museum for the 8 consecutive hours of the experience. In fact, in COLLECTIVE EXPOGRAPHY, people are actually participants and not spectators. Over the duration of this long event, the artistic proposal is mixed with the need to eat, to visit the toilet, to smoke a cigarette and to cohabit the space with others. All these needs are co-opted into the device, which also opens up to other needs and desires. Although apparently very demanding because of the commitment to remain relatively isolated for 8 hours, this experience in fact offers the freedom to leave behind the “prison” of our habits and ways of looking at the world for the duration of the event.

The second work, RETROSPECTIVE EXPOGRAPHY, is more of a “spectacle” or “show” in the conventional meaning of the word, and will be presented one week later, on 17,18 and 19 January at Teatros del Canal.

This research process has been supported and coproduced jointly by CA2M and Teatros del Canal.

What happens when you grow up with a genderless neutral language and then arrive in a country in which everything is gendered? How can we speak of identity when a language has already determined what is masculine and feminine?

This is what the young Iranian artist Sorour Darabi was faced with when s/he arrived in Montpellier to study dance. Her/his mother language, Farsi, has no masculine or feminine forms. French, on the other hand, constantly forced him/her to distinguish between male and female, even in her/his search for his/her own language of movement. Accepting a word thus became a physical test.

Darabi rebelled against this violent form of authority. Farci.e (2016) is an androgynous solo show that flirts with the boundaries of gender, language and sexuality.

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Sorour Darabi is a self-taught Iranian artist who lives and works in Paris. After working in the underground network in Iran, s/he went on to study at the Centre Chorégraphique National (CCN) in Montpellier, France.

Last summer, a group of boats set sail from the port of Valparaíso. When they reached open sea, the crew tied the boats with ropes to keep them close together and to recite poetry. A while after the event it was believed that it was the bodies that were holding tightly onto one another with their hands, very close together, in concentric circles so that they would not separate and to keep upright. Caro says that the public held onto the poets so that they would not fall into the sea while reciting.

This summer the mothers died. This summer we burnt the mountains in Madrid and we smelled it all. We extracted its gases in order to incrust a galaxy into the museum in the ceramic skirting board that runs around a large part of the third floor. We dreamed of pouring ourselves into this gap in which the horizontal and the vertical are decided, to cross this edge and to slash open the museum and escape on a flying carpet or on a UFO.

Rodapié Universo (skirting board universe) is a trip to the final horizon; to the ocean, its views and its voices which we conjure up through the architecture of the museum.

Acknowledgments: Toño Naharro, Sergio Muñoz Arriagada, Carlos Cociña, Julieta Marchant and A Cielo Abierto / Festival Internacional de Poesía de Valparaíso.

Limited capacity: 68 people.

CA2M in conjunction with Silvi ManneQueen and Madrid Ballroom Scene wish to invite you to attend a Kiki Ball. Kiki is the less mainstream side to the ballroom scene. Because it is more open, it gives exposure to new members coming onto the scene and offers the audience a chance to take part. A ball is a voguing battle where dancers and artists demonstrate their moves in different categories in front of an international jury.

 If you’ve seen the exhibition Elements of Vogue and love voguing and ballroom culture then you won’t want to miss this ball. But if you haven’t seen it and you love everything about fashion, catwalks, dancing, and want to feel like a model strutting your stuff on the runway, or if you’re into creativity and want to express yourself freely and be who you want to be.... this is also the place for you! You can take part as a competitor or simply enjoy the show as part of the audience: but, simply remember, be who you want to be and once you start looking, you too become part of the show!

This is also a special occasion because it gives us a chance to present for the first time members of the Kiki House of F.A.B, the newly founded international house of artists and voguers based in Madrid.

DRESS CODE / THEME

Borrowing inspiration from the installation made by the NY artist Rashaad Newsome especially for holding balls at CA2M, you will be whisked away to a fabulous world of gemstones, glamour and bling bling whose superficial appearance belies the fact that it is a platform for the radical resistance of dancing bodies.

CATEGORIES

• Runway 
• Virgin Performance
• Realness
• Old way vs. New Way
• Hands Performance
• Best Look of the Night
• Vogue Femme

OTA (open to all, regardless of gender, race, sexual orientation, etc.).
The order of the categories will be announced at a later date.

Host: Silvi ManneQueen, Mother of the Kiki House of F.A.B, Madrid

Commentator: Matyouz Royalty, New Kiki House of Royalty, Paris

Guest judges:

• Father Typhoon Angels, Kiki House of Angels, Rotterdam (Prodigy)
• Mother Kiara Mermaid, The Supreme House of Mermaids, Paris (Ninja)
• Inxi 007, Sweden (Prodigy)

Participants / Enrolment:

If you want to compete you have to fill in the following form.

Enrolment is free and open until 16 January

REGISTRATION

Enrolment free, open until 16 January

Maximum 3 categories

The organisation reserves the right to consider a category to be full when a sufficient number of participants have enrolled. 

The idea is to motivate people to enrol in other categories. So, don’t waste your time and enrol now!
If you have any doubts on categories and dress codes, send an email to: madridballroomescene@gmail.com 

Description of categories and themes for dress codes

Choose whichever suits you best, become who you want to be, take part and hope the judges give you 10s! The sky is the limit! However, we have provided some guidelines for looks for each category.

OTA RUNWAY: Pearls and Diamonds

The INSPIRATION for this category is for Pearls and Diamonds to sparkle on the runway. This is your chance to be a real model without conforming to stereotypes or canons. But remember, this is not a fancy dress ball. Creativity, elegance and Xtravaganza are the watchwords. Slay the Catwalk!
To get your 10s, you need to wear:
- European Runway : Headpiece (ornamental headdress)
- American Runway : Handbag (bag, purse, briefcase)
All participants will walk individually. The judges will then choose who moves on to the battle phase, where two participants walk at the same time, ballroom style. The judges will be looking for runway technique.

HANDS PERFORMANCE: Pyrite (Gold/Silver)
Show us what you can do in hands performance inspired by pyrite, fool’s gold. Look to its angles, cuts, sparkle and details for the elements on which to base your polished technique and smooth moves. Protect your hands with gloves, and cover your arms with golden or silver details, to tell us your dazzling story.

BEST LOOK OF THE NIGHT: Sapphires and/or Rubies (Spectators and participants)

This is the moment to show off the most fabulous look of the night and dazzle with your style. To take part in this event you don’t have to walk, you just show off your look, the one that shows the real you. This category has no set rules; all you have to do is take your inspiration from precious gemstones like rubies and sapphires. Remember that judges in this category will be looking at all details: hairstyle, accessories, jewellery, etc. and your ability to sell your look.

The public can take part. So if you feel up to it on the night, you could win this category, though you have to bear in mind the dress code. You don’t have to sign up beforehand.

Dress up and pass yourself off with INSPIRATION from the installation created expressly by Rashaad Newsome for the exhibition “Elements of Vogue” at CA2M, where the Kiki ball will be held. Whether your choice is Bling Bling, Banji or Hip Hop you have to convince the judges with your realness and swag. And don’t forget, it’s not just a case of dressing up.

This category was originally created in the ballroom scene to acknowledge people’s ability to “pass” unnoticed in wider society at a time when being Black or Latino and LGBT was by no means easy. For instance, the challenge for a gay male was to “pass” for being as straight as possible and gain access to the same privileges in society, like getting a job. Or, for a transsexual, the challenge was to be as “real” as possible and return home safely without getting beaten up. This category is broken down into different kinds of Realness: Thug Realness, School Boy, Transman Realness, Femme Queen Realness, Butch Realness, Butch Queen Up in Drag Realness (BQUID), etc.

OTA VIRGIN PERFORMANCE: Pink Quartz

You love voguing and are thinking about walking but don’t have the experience? There’s always a first time for everyone! And, if you’re reading this category, maybe now it’s your turn. Don’t think twice. Prepare a look based on the virginity and purity of Pink Quartz, and show the judges your wild side.

Any style of voguing is welcome (Old way, New Way, Vogue Femme, but without mixing them up). For first-timers only.

VOGUE FEMME: Holographic Opal

This much-awaited category shines with a light of its own. If you’ve ever taken part in a kiki or ball, now’s your chance to dazzle the judges with your Holographic Opal look. Opal is the “Artist’s Stone” because of its ability to bring out hidden talents and the whole spectrum of the rainbow.

Use the visual effects and sparkle of the opal and add your own walk to outshine everyone else, whether it’s through dramatics or soft and cunt, and show those judges how versatile you are.

To get 10s, your walk has to include a prop and one or more colours of the rainbow. Be creative! Besides your attire, judges will be looking at your walk technique, elements and charisma before giving away any 10s.

If you have any doubts or questions about categories or dress codes please send an email to: madridballroomescene@gmail.com

You are invited to attend the Ball with a look inspired by one of the options. Please pay attention because there will be a category in which you can decide to take part on the very day of the Ball. Follow the event on Facebook, where you’ll find photos to inspire looks and attire.