{"id":115885,"date":"2020-02-11T11:48:37","date_gmt":"2020-02-11T11:48:37","guid":{"rendered":"https:\/\/develop.mercatflors.cat\/blog\/?p=1737"},"modified":"2023-06-15T09:47:47","modified_gmt":"2023-06-15T09:47:47","slug":"sobre-erritu-per-ester-vendrell","status":"publish","type":"blog","link":"https:\/\/develop.mercatflors.cat\/en\/blog\/sobre-erritu-per-ester-vendrell\/","title":{"rendered":"Sobre ‘Erritu’, per Ester Vendrell"},"content":{"rendered":"

“No se puede\u00a0 divorciar el arte de la integridad, la verdad, la belleza, la vida.
\nEl arte no es meramente un concepto, es una forma de vida”
\nSatish Kumar<\/strong> (La simplicidad elegante<\/em>, 2018)<\/p>\n

Jon Maya i Sharon Fridman, creadors i core\u00f2grafs de\u00a0 les respectives companyies\u00a0 Kukai Dantza i\u00a0 Cia Sharon Fridman\u00a0 canalitzen a trav\u00e9s de l\u2019art inquietuds del m\u00f3n present, global i transcultural. El m\u00e9s destacat que els uneix \u00e9s l\u2019obertura de l\u2019art a disciplines, col\u00b7lectius i a pr\u00e0ctiques diverses per fer de la dansa un instrument dial\u00f2gic entre persones i comunitats.\u00a0 Malgrat\u00a0 procedir de tradicions culturals tan dispars com la Basca (Errenteria,1977) i\u00a0 la Israeliana (Hadera,1980 ) ambd\u00f3s\u00a0 comparteixen quelcom fonamental que dona peu a la proposta d\u2019Erritu: la dansa tradicional o folklor des de la inf\u00e0ncia com el punt de partida d\u2019una traject\u00f2ria professional a l\u2019escena. Aquesta dansa ja sigui d\u2019arrel popular religiosa o profana cont\u00e9\u00a0 valors, s\u00edmbols i energies col\u00b7lectives, mem\u00f2ries que es transmeten i arrelen en els seus practicants.\u00a0 Com afirma Dilthey \u201cles experi\u00e8ncies viscudes\u00a0 en la comunitat s\u00f3n una interacci\u00f3 de coneixements, afectes i desitjos i aquestes conformen la for\u00e7a i la seva cohesi\u00f3 del grup\u201d.
\n<\/strong><\/p>\n

\u00a0<\/strong>Els rituals s\u00f3n mem\u00f2ries col\u00b7lectives codificades en accions que poden tenir origen en contextos festius, cerimonials, religiosos, pol\u00edtics,\u00a0 esportius o professionals.\u00a0 Poden ser religiosos o seculars, per\u00f2 per a la majoria, el ritual esdev\u00e9 sagrat en tant que fonamental per la vida de l\u2019individuo o col\u00b7lectivitat\u00a0 pel seu poder transformador.<\/p>\n

Les arts esc\u00e8niques\u00a0 des de les disciplines de la dansa, el teatre\u00a0 i l m\u00fasica, tenen el seu origen en aquestes cerim\u00f2nies, celebracions i pr\u00e0ctiques culturals, i la seva evoluci\u00f3 \u00e9s un reflex dels condicionants dels contextos, de l\u2019evoluci\u00f3 de les diferents cosmovisions,\u00a0 sistemes religiosos, la filosofia, la pedagogia ,la pol\u00edtica i el poder exercit\u00a0 sobre les persones i el seu cos al llarg de la hist\u00f2ria.L\u2019element fonamental que diferencia les arts esc\u00e8niques, vives, d\u2019altres arts com les figuratives o visuals : pintura, escultura , fotografia, cinema \u00e9s que\u00a0 el subjecte i l\u2019objecte de l\u2019art \u00e9s la persona humana en la seva totalitat ,en la indivisible trinitat, cos ment, esperit, front a la insistent concepci\u00f3 dual i racionalista de la hist\u00f2ria occidental.El cos \u00e9s el locus\u00a0 de l\u2019experi\u00e8ncia , entesa com un sistema\u00a0 coherent multifacetal depenent de la interacci\u00f3 i interpretaci\u00f3 del coneixement- informat pels sentits-, afecte i volici\u00f3 (desig). En ell hi conflueix el pensament i l\u2019intel\u00b7lecte\u00a0 expressat en paraula que alhora es so \u2013vibraci\u00f3, respiraci\u00f3-\u00a0 i que\u00a0 alhora \u00e9s energia ps\u00edquica expressada\u00a0 en moviment\u00a0 (dansa\/gest)\u00a0 modulat per un ritme que \u00e9s alhora\u00a0 un estat d\u2019\u00e0nim.\u00a0 Per tant l\u2019\u00e0nima i l\u2019esperit\u00a0 hi s\u00f3n presents\u00a0 en tant que\u00a0 pneuma <\/em>(grec)\/Spiritus <\/em>(llat\u00ed) ent\u00e8s com respiraci\u00f3\u00a0 i Psych\u00e9 (grec)\/anemos ( llat\u00ed<\/em>) \u00e0nima, vida en el sentit d\u2019estat mental, estat an\u00edmic i\u00a0 s\u2019entrellacen de manera indivisible, esdevenint un espai d\u2019obertura.<\/p>\n

Els mantres o recitacions \u2013 en el seu sentit literal, tradu\u00eft de la paraula s\u00e0nscrita-\u00a0 signifiquen \u201cinstruments del pensament o de la ment\u201d. Tant si \u00e9s en forma d\u2019un so, un grup de paraules o una frase, expressen fortes creences i es repeteixen en diferents ritmes, melodies o accents. Els mantres s\u00f3n\u00a0 la performativitat de la ment, que est\u00e0 present en tots els rituals. \u201cCantar junts \u00e9s viure col\u00b7lectivament la met\u00e0fora dels s\u00edmbols\u201d Jaume Ayats (2011).<\/p>\n

Gestos, pensaments i mantres (cos, ment, esperit) -com la trinitat inseparable- s\u00f3n els elements fonamentals dels Ritus. Per aix\u00f2 les pr\u00e0ctiques de les arts esc\u00e8niques han estat i s\u00f3n una porta a la Uni\u00f3, a experi\u00e8ncies intangibles d\u2019acc\u00e9s a l\u2019innombrable\u00a0 i a l\u2019inefable. Erritu<\/em>\u00a0 \u00e9s una recerca i una invitaci\u00f3 a aquesta experi\u00e8ncia compartida tant des de la dansa com a vehicle pels seu practicants com pel seu potencial emp\u00e0tic i de sensualitat sensorial per l\u2019espectador. Ritu<\/em> s\u2019adapta al context, al medi i a l\u2019espai de presentaci\u00f3 (site-specific) aix\u00ed com a les veus que hi participen per tal d\u2019activar vincles m\u00e9s directes amb la comunitat del context. Aquest cop seran les veus femenines de l\u2019Orfe\u00f3 Catal\u00e0.<\/p>\n

En el context actual de la globalitzaci\u00f3 cultural i econ\u00f2mica , de l\u2019economia neoliberal on les arts esc\u00e8niques s\u2019han convertit de manera generalitzada en una ind\u00fastria de l\u2019oci, i\u00a0 el consum\u00a0 ha vingut a substituir l\u2019experi\u00e8ncia,\u00a0 els creadors\u00a0 exploren i retornen a altres dimensions\u00a0 de les arts en la societat. Cada cop prenen m\u00e9s valor les\u00a0 arts aplicades en diferents contextos de la societat\u00a0 perqu\u00e8 ajuden a re connectar amb el seu potencial originari , transformador i cohesionador.\u00a0 Ja ho fou la proposta Rizoma <\/em>\u00a0(2012)\u00a0 de Sharon Fridman expandit per tot el planeta\u00a0 i tamb\u00e9 est\u00e0 cam\u00ed de ser-ho aquesta proposta avalada amb el Premi Max a la millor coreografia (2019). Un encontre entre dos creadors i els seus equips art\u00edstics de reconeguda traject\u00f2ria al que\u00a0 s\u2019ha de sumar el Premi Nacional de Dansa (2017) , el Premi Max de les arts esc\u00e8niques al millor espectacle, millor conjunt de dansa, millor composici\u00f3 i millor vestuari (2017) per la creaci\u00f3 Oskara<\/em> de Kukai Danzta amb Marcos Morau de la Veronal.<\/p>\n

(2017)\u2026<\/p>\n

KUKAI DANTZA & SHARON FRIDMAN (amb el Cor de Noies de l’Orfe\u00f3 Catal\u00e0)<\/strong> presenten Erritu<\/em> del 21 al 23 de febrer de 2020 al Mercat de les Flors<\/span><\/a>
\n<\/strong><\/p>\n

Refer\u00e8ncies<\/strong><\/p>\n

Ayats, J. (2002) \u201cC\u00f3mo modelar la imagen sonora del grupo , los esl\u00f3ganes de manifestaci\u00f3n\u201d a\u00a0\u00a0 Transcultural Music Revivew. No 6. https:\/\/www.sibetrans.com\/trans\/articulo\/235\/como-modelar-la-imagen-sonora-del-grupo-los-esloganes-de-manifestacion<\/a> .<\/p>\n

Eliade, M. (2012).\u00a0 El sagrat i el prof\u00e0<\/em>. (Traducci\u00f3 de Julia Argem\u00ed, introducci\u00f3 de Vicen\u00e7 Mateu). Barcelona: Fragmenta .<\/p>\n

Grotowski, J. (Caixach ,A i Castel-Branco,I.,ed), (2009). Teatre i m\u00e9s enll\u00e0 Textos selectes 1969-1995.<\/em> Barcelona: Fragmenta.<\/p>\n

Lynne Hanna, J. (2004). Dance and Religion (overview) in Lindsay Jones, ed.,The Encyclopedia of Religion.<\/em> 2n ed.New York: MacMillan Co. (pp.2134-2143)<\/p>\n

Muni ,B Natya Sastra.(2013) .<\/em>Tratado fundamental de po\u00e9tica, composici\u00f3n y artes esc\u00e9nicas. (<\/em>trad. Castellana , Iv\u00e1n Gonz\u00e1lez Cruz ) . Santiago de Chile: Letra Capital.<\/p>\n

Nair, S. (2007).\u00a0 Restoring breath.\u00a0 Consciousness and performance:\u00a0 <\/em>Amsterdam\/New York: Radopi.<\/p>\n

Schechner, R. (2002) . Performance Studies, and Introduction<\/em>. New York,London:\u00a0 Routledge..<\/p>\n

Spontville, A(2014) . El alma del ateismo: Introducci\u00f3n a una espiritualidad sin Dios<\/em>. Barcelona: Paid\u00f3s.<\/p>\n

Turner ,W.V. (1988)\u00a0 EL proceso Ritual . Estructura y antiestrutura<\/em>. (ed castellana).Altea: Taurus.<\/p>\n

Turner,V. On the edge of the busch . (1985). Antropology as Experience<\/em>. Tucson: The University of Arizona Press.<\/p>\n

Van Gennep,A. Los ritos de paso<\/em> (Ed castellana).Altea: Taurus, Alfaguara.<\/p>\n

Victor W. Turner, (1988). El proceso ritual. Estructura y antiestructura<\/em>. (Ed. Castellana)\u00a0 Altea: Taurus.<\/p>\n

Williamson A.(2010). \u201cReflection and theoretical approaches to the study of spiritualities within the field os somatic movement dance education\u201d. Journal of dance and Somatic Practices<\/em>. Vol 2 num.I. Intellect (p.35-61).<\/p>\n

Williamson A, Batson G, Whatley S, Weber R (ed) . (2014). Dance Somatics and Spiritualities. Contemporary sacred Narratives<\/em> .Bristol, UK\/Chicago USA: Intellect.<\/p>\n

\u00a0<\/strong><\/p>\n

Links<\/strong><\/p>\n

http:\/\/kukai.info\/en\/<\/a><\/strong><\/p>\n

https:\/\/www.sharon-fridman.com\/<\/strong><\/p>\n

https:\/\/www.stabivo.com\/<\/a><\/strong><\/p>\n

https:\/\/formaciondanzaypsicologia.wordpress.com\/<\/a><\/p>\n

https:\/\/www.revistaesfinge.com\/arte\/item\/1643-rito-ethos-y-catarsis-una-nueva-filosofia-del-arte<\/a><\/strong><\/p>\n

https:\/\/formaciondanzaypsicologia.wordpress.com\/<\/a><\/p>\n

https:\/\/www.grupformacio.com\/copia-de-master-i-postgrau<\/strong><\/p>\n

https:\/\/vertigo.org.il\/en\/team\/noa-wertheim\/<\/a><\/strong><\/p>\n

https:\/\/www.sharon-fridman.com\/portfolio\/rizoma\/<\/a> ( rizoma de Sharon Firdman) <\/strong><\/p>\n

https:\/\/www.eitb.eus\/es\/cultura\/detalle\/5112899\/kukai-dantza-premio-nacional-danza-2017\/<\/a> ( Oskara, Kukai Dantza).<\/strong><\/p>\n

https:\/\/www.eitb.eus\/es\/radio\/radio-euskadi\/programas\/graffiti\/videos\/detalle\/5458045\/jon-maya-sharon-fridman-nos-presentan-erritu\/<\/a>\u00a0 ( entrevista Sharon Fridman, Jon Maya) <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Gestos, pensaments i mantres (cos, ment, esperit) -com la trinitat inseparable- s\u00f3n els elements fonamentals dels Ritus<\/p>\n","protected":false},"featured_media":115911,"template":"","categoria":[6908],"etiqueta_blog":[],"class_list":["post-115885","blog","type-blog","status-publish","has-post-thumbnail","hentry","categoria-temporada-2019-20"],"acf":[],"yoast_head":"\nSobre 'Erritu', per Ester Vendrell<\/title>\n<meta name=\"description\" content=\"Gestos, pensaments i mantres (cos, ment, esperit) -com la trinitat inseparable- s\u00f3n els elements fonamentals dels Ritus\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/develop.mercatflors.cat\/en\/blog\/sobre-erritu-per-ester-vendrell\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sobre 'Erritu', per Ester 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