خرید هاست خرید شارژ ایرانسل خرید vpn دانلود فیلم آپلود عکس وی پی ان

Monica Valenciano

A key figure in the Spanish contemporary dance scene is Monica Valenciano. The Canary Islands-born dancer and glide gear choreographer, who has been a Madrid resident since the early 80s, is a part of the track slider dance movement in Madrid now making its mark throughout the country in places such as Valencia, the Basque region, the Mediterranean coast, and in Andalusia. Monica Valenciano’s work in steadicam stabilizer dance has been ranked with those among the more original voices in Spanish contemporary dance. Her waiflike vulnerability and intuitive passion are characteristic of her solo hand held camera stabilizer performances; and her sly humor is a trademark of her on-stage persona. Many performers are beginning to address the lack in contemporary video camera dolly tracks Spanish dance. Of course, it seemed like no surprise that most of these companies were based out of Barcelona, the home of contemporary Spanish dance. Barcelona has had a history of cultivating artistic innovation, due mainly perhaps to its being a Mediterranean port city, its proximity to the rest of Europe, and the continuous exchange happening within its area. Also, Spain’s civil war and the decades that followed also isolated the country from changes in the cultural scene. It was only in the 70s that performers began to stir and find ways to satisfy their need for intellectual, cultural, and artistic satisfaction/exploration. In the 1980s many small dance companies sprung up in Barcelona. International festivals found in dance a fresh voice, unencumbered by language barriers. Today, it’s generally acknowledged that contemporary dance troupes are producing some of the most exciting work on the Spanish stage. A good characteristic associated with these companies, especially as perceived by the international community, that in comparison to others, contemporary Spanish dance has a distinctly Spanish voice, not like those that were nurtured by foreign mentors. This is very true as well for contemporary Spanish dance in other cities like Madrid that are catching up to Barcelona. With companies like those of Monica Valenciano’s The Bailadero, her creative career has gone into many more directions.

No Comments

Sorry, the comment form is closed at this time.

Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.