Cèl·lula n.4
Supermedium Núria Guiu & Ingri Fiksdal
Mercat de les Flors
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Cèl·lula n.4
Supermedium
Cèl·lula emerges as an embryonic project for the production, creation and transmission of dance within the structure of the Mercat de les Flors. It aims to make possible the creation of medium and large-format works by choreographers who are at the point of maturity and interest in deploying their talent and aesthetic universe in this stage format. Cèl·lula is a program of the Mercat de les Flors to support the creation of large format, the transmission and circulation of knowledge within the professional community.
One of the objectives of this project is to give more support and accompaniment to the artists of the territory, to increase the resources available and to improve the working conditions.
The project developed by Mercat de les Flors between 2018 and 2023 has put the artist at the heart of the Mercat de les Flors project, a position necessary to improve the quality of the creations.
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The Cèl·lula project developed in recent seasons has been able to generate large stage formats and give growth opportunities to local talent. So far, 11 laboratories and three Cèl·lula productions have been held, with Albert Quesada, with Pere Faura / La Diürna and with Guy Nader and Maria Campos. This year we have proposed to Núria Guiu a creation within the framework of Cèl·lula. Cèl·lula is a flexible structure for the creation, transmission, continuous training and development of dance, it invites and welcomes choreographers, dancers, creators and artists who work around dance, choreography, the body and movement.
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Cèl·lula n.4 Supermedium
Núria Guiu’s new work, accompanied in the creation by Norwegian choreographer Ingri Fiksdal, is called Supermedium and is part of the Cèl·lula 4 project, produced by Mercat de les Flors. The piece is a large-format version inspired by Medium, a solo that the two choreographers created in 2022. In the history of dance up to the present day, there are different approaches to the embodiment of the virtual or invisible. Witches or mediums have always been women associated with the fringes of society and superpowers. In Supermedium, nine dancers become mediums who channel movement
through time and space, and such be vessels that connect past, future and present times. Through attempts of invocation, possession and finally exorcism of various movement archives, the performance grows into a speculative fiction that examines what kinds of bodily knowledges and histories we are in possession of as well as which bodies are possessed.
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PREMIERE
From January 24 to 28, 2024
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CHOREOGRAPHY
In Supermedium nine female dancers will be channelling movement from their own bodily archives. Each dancer will transcend, mutate and reveal different traces of phantom movements. Movements that have been traveling through different bodies, through generations; maybe from a teacher to a student, from a mother to a daughter, from a video tutorial on the Internet to a viewer. Their bodies become possessed by movements that belong to different times and places. The movements can perhaps be recognized or named by the viewer in a subtle way while they fade, mutate, disappear or transform. Bodies possessed by many bodies. Bodies possessed by history. Bodies possessed by music. Bodies that transit both cultural, personal and virtual history archives during the time and space of the performance.
CONCEPT
Supermedium looks at how the body is haunted by ghosts of the past, present and future. Here, the ghost is understood both as a metaphor for how different movement-histories and physical memes are manifested in the body, but also concretely through dances that seek to channel actual ghosts or spirits. In Western Modernity, the conception of humanity has been based on a distinction between Man and nature, but also on a disenchantment of the world where ghosts and spirits no longer had a place. In recent years, the posthumanist turn has tried to reinclude other-than-humans and re-entangle Man as someone who is always already in relation. However, this entanglement tends to favour the natural world, where beings such as bacteria and fungus act upon humans and humans on them. There is more reluctancy however, to also consider the supernatural and what lies beyond the material and visible as morethan-human agents. Supermedium aims to negotiate the universes of the visible and the invisible, of materiality and volatility, spirit and flesh in order to question this threefold of the body as both natural, cultural, as well as channel for the supernatural.
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BODY - IMAGE - MEDIUM In ancient times, in funeral cults, the body served as a vessel between life and death. A living person offered his body to a dead person as a medium so that the dead could manifest and express themself. There are rites all over the world in which the body becomes the instrument for communication between the dead and the world of the living, of the invisible and the visible, of spirits and matter. In these rituals, the body is possessed, and the spirit is often manifested through a voice, music, movement, or dance. In daily life, ideological currents, politics, as well as culture, are sometimes part of this spectrum that possesses us, and which we embody even though it is not visible at first sight. In dance history as well as today, there are many different approaches to the incarnation of the virtual or invisible. In the West, classical dance has been a benchmark in terms of the representation of women as spirit. The second act of the ballet (also called the white act) is usually staged with dancers covered in white tulle. In this act the dancers move in an agile and light way to represent the souls and spirits of different characters (Giselle, Sylphide and Swan Lake to name a few). In modern American dance, Loie Fuller became famous for her Serpentine dance. The staging consisted of a costume made from a wide and light fabric that covered her from head to toe. Through elongating her arms with sticks, Fuller could manipulate the costume and create large volumes, figures and spooky shapes under which her body disappeared. The intention
of Fuller’s dance was not to focus on the body, but on its disappearance while creating an ecstatic or hypnotic experience that also integrated sound and light. Both Mary Wigman and Marta Graham, great references in modern dance, created imaginaries in which the body disappeared or was transformed by the costumes (for instance Lamentation by Graham and Totentanz by Wigman). Graham was closely influences by her teachers Ruth St. Denis and Ted Shawn, who had travelled in the East (especially in India) and who appropriated an Orientalist aesthetic (which later was much criticized). Still, their dances became influential in the West as they promoted a new conception of the body as a form of spiritual expression. Today, images of bodies and movement, more than ever due to the expansion of the Internet, have a great power over our imagination. Digital culture has produced an overabundance of visual content. This content, volatile as a spirit, travels at high speed through the internet reaching all over the world. The Internet, however, far from being an invisible cloud, is materialized in devices, screens, cables that cross oceans, garbage that accumulates in countries that the West exploits and enslaves under a capitalist economy. All content on the Internet is seemingly a kind of phantasmagoria, colonizing our imaginaries, flesh, thought, and the natural environment.
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REVIEWS OF THE SHOW Carmen del Val, El País, Babelia. 26/01/2024
“In this large-scale production, gesture, music, scenery and costumes form a whole that hypnotises the spectator from the very first moment. [...] Brilliant moments abound throughout the show.”
Andreu Gomila, Temps de les Arts. 24/01/2024
“On stage, nine dancers, including the choreographer, offer a show of strength, plasticity and energy in what is by far one of the best performances of the season. [...] In Barcelona, a proposal like Guiu’s can aspire to this, to do four to eight performances in the large hall of the Mercat. It could go even farther and be performed in the Fabià Puigserver hall of the Lliure (more than 700 seats) or the Sala Gran of the TNC (more than 800). Or even at the Teatre Grec (more than 2,000 seats).”
Oriol Puig Taulé, Núvol. 31/01/2024
“Size sometimes does matter. And big can work too. (...) Supermedium works because we all dance and move, and very often our movements have origins that even we are unaware of.”
Omar Khan, SusyQ. 24/01/2024
“One of Supermedium’s greatest merits lies in the game it plays with the observer’s perception. The same scene, which looks like a place under construction, acquires another meaning, even another dimension, after having become acquainted with the discourse.”
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ARTISTIC INFORMATION
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Direction
Núria Guiu Sagarra Choreography
Núria Guiu with Ingri Fiksdal in collaboration with the dancers Accompaniment
Clàudia Solwat Performers
Clara Tena, Emma Riba, Mabel Olea, Aina Lanas, Blanca Tolsà, Anna Calsina, Laura Morales, Berta Pascual and Núria Guiu
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Costume and set design
Photography and video
Ronak Moshtaghi
Tristán Pérez-Martín
Original light design
Production
Phillip Isaksen
Mercat de les Flors
Adaptation, design and lighting technician
in the framework of
Arnau Sala
Cèl·lula Project
Sound design and original music
Premiere
Uge Pañeda
From January 24 to 28, 2024 at Mercat de les Flors
Musical assistance
Los Sara Fontán Costume assistance
Manuel Mateos
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NÚRIA GUIU nuriaguiu.com
Núris Guiu is a dancer and choreographer born in Mollet del Vallès and based in Barcelona. As a dancer, she has collaborated with companies such as Cullberg Ballet, Gisele Vienne, Carte Blanche Dance Company, Batsheva Dance Company (Kamuyot / Riksteatern), Ingri Fiksdal, Jasmin Vardimon, La Veronal, Kobalt Works, among others. She is a certified professor of Yoga Iyengar and a student of the Degree in Anthropology and Human Evolution at the UOC University. She has worked as an artistic assistant for Arco Renz and for Gisele Vienne besides performing in some of her creations such as Crowd or This Is How You Will Disappear. As a choreographer she has focused on the relation between body-image-powerdigitality. Likes, is a solo which was selected by the European platform Aerowaves 2018, won a special mention as best dance performance in “Premis ciutat de Barcelona 2018”, an award for the best performance in the solo dance category in the “Premis de la crítica 2018 Barcelona”, as well as DansaCat Awards 2019-2020 for best performance. Spiritual Boyfriends, Futuralgia (commission work by the company Unusual Symptoms of the Dance Theater Bremen), Cyberexorcism and Medium (co-creation with Ingri Fiksdal) are her last creations. Núria has been touring nationally and internationally with her work in venues and festivals such as Hau Hebbel Berlin, Biennale Lyon (Fr) Oktoberdans (No), Saal Biennale (Ee), Les Plateaux (Fr), Taiwan dance platform, Batard Festival (Be), Tanzfestival Rhein Main (De), El Grec Festival (Sp) among others. Núria Guiu gets the cultural national prize in Catalonia in 2022 as a choreographer focusing on the relationship between dance and the digital environment, always with a socio-anthropological perspective. Núria is currently a resident artist at Mercat de les Flors 2021-24.
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INGRI FIKSDAL ingrifiksdal.com
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Ingri Fiksdal is a choreographer based in Oslo, Norway. She holds a PhD in artistic research from the Oslo National Academy of the Arts titled Affective Choreographies (2019). Ingri’s work on affect has in recent years taken her into discourses on perspective and privilege. She is currently working on a number of projects that research the posthuman and with this hegemonies of knowledge and power. Here, choreography is understood as a format of speculative fiction that can propose complex and manyfold understandings of body, gender, species, ethnicity, knowledge and history. Ingri is concerned with how practice and theory are entangled in her work in a way where neither is perceived as anterior to the other. Since 2020, Ingri has been an Affiliated Artistic Researcher with CoFUTURES at the University of Oslo (www.cofutures.org). The CoFUTURES group led by Bodhisattva Chattopadhyay researches global futurisms from non-anglophone traditions. Ingri’s work has in recent years been performed at Obscene Festival in Seoul, Homo Novus in Riga, Kunstenfestival in Brussels, Palais de Tokyo in Paris, Museum of Contemporary Art in Chicago, Santarcangelo festival, Beijing Contemporary Dance Festival, Sommerszene in Salzburg, Reykjavík Art Museum, brut-Wien, Teatro di Roma, Harbourfront Centre Toronto, Contemporary Art Center Cincinnati, BUDA Kortrijk, Tanzhaus NRW in Dusseldorf and Steirischer Herbst Festival in Graz, alongside extensive touring in Norway.
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ANNA CALSINA FORRELLAD has worked all over Europe with James Thierrée, Lali Ayguadé, RootlessRoot, Carlos Pez, Camille Boitel, Claire Ruffin, Boris Gibé and Muriel Felix. She has collaborated with Lisi Estaràs on various works, such as Monkey Mind, which brought together professional and disabled dancers, with the support of ballets C de la B. Calsina is also the cochoreographer and performer of Bright Days, a dance performance with live music by Groupe Pluton, co-produced by workspacebrussels, the Nona arts centre and the BUDA arts centre. She researches dance and sound with Kotomi Nishiwaki. Since 2019, she has been lead singer for the group Antoine Loyer et Les mégalodons malades.
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BERTA PASCUAL has combined her dance studies with various artistic projects, as a dancer in the piece Carències by Eyan Dance Company, in Yunta as co-creator and performer, in Cyberexorcisme by Núria Guiu, where she was nominated as best dancer at the 25th Performing Arts Critics Awards, and in La Partida by Vero Cendoya. She also participated in the project Liminar, directed by Toni Mira, at the festival Dansa Metropolitana. She currently teaches contemporary dance at Studio de Dansa Maestre, as well as performing in the new production Parafonies, by Blanca Tolsà, and in ANÖA, by Elvira Balboa.
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CLARA TENA LIÑÁN has studied at Movement Research and Trisha Brown Studio in New York. She brought about Feather Leather, a multi-format project based on a network of exchanges in collaboration with Yurie Umamoto. With this methodology she created I Am An Orphan de la Valley, Cigronete and Macarronito and the video series Belier OH!. During 2010 and 2011, as artistin-residence at La Caldera creation centre (Barcelona), she created the solo Animal of the Month: Belier, which premièred at the Grec Festival in 2010. She works with Alexis Eupierre, Olga Tragant, John Jasperse, Xavier Le Roy, Elena Albert, Juan Luis Matilla (MOPA), Juan Dominguez, Thomas Hauert, Bea Fernández, Aimar Pérez Galí, Mireia Saladrigues and Quim Bigas, among others. Meanwhile, she is developing PIÑA, an audiovisual music and dance project in collaboration with Sara Fontán.
BLANCA TOLSÀ became a dancer in IT Dansa, the Institut del Teatre’s young dance company, with which she toured internationally. She has worked with Lipi Hernández, Ariadna Montfort, Zappalà Compagnia and Raquel Klein in Wu Wei, for which she received the Butaca 2020 Award for best female performer. She was part of Mercat de les Flors’ Cèl·lula n.1 production with the piece Flamingos by Albert Quesada. Since 2019 she has been researching the intuitive associations between abstract voice and movement. This was the inspiration behind her first piece, Ecoica, which prepremièred at Corpografies #7, La Caldera, and finally premièred at the Festival Dansa Metropolitana 2022, which also produced it. She currently works as a performer for choreographers such as Núria Guiu (Supermedium, Cèl·lula n.4), Georgia Vardarou, Paloma Muñoz – Cia. Siberia and Constanza Brncic, among others.
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LAURA MORALES teamed up with Greta García in 2013 to create the multidisciplinary collective Hermanas Gestring, which three years later won first prize in the Certamen Coreográfico de Madrid – Pasoa2 with the piece Good Girl. She was recognised as an excellent dancer by the AISGE Foundation for attending the American Dance Festival as an international choreographer and later Movement Research in New York. She has collaborated with Teresa Navarrete, Guillermo Weickert, Horacio Macuacua, Aitana Cordero, Mopa, Judith Sánchez Ruiz and Caroline Beach. She has also developed her own projects, all of which have premièred at the Teatro Central in Seville. She also collaborates with the German collective CALLS – a sailor syndicate and with the company Truca Circus.
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MABEL OLEA uses digital tools to work on part of her artistic proposal, in a line of research on the body with concepts such as beauty, image or appearance. She won a SAT Award from the Institut del Teatre and has already premièred her first large-scale piece, Japan (2021), and is in the process of creating a second. As a performer she works with Les Impuxibles, Marie Gyselbrecht and Núria Guiu. She was part of Rigoberta Bandini’s team of dancers for the Benidorm Fest and on the Rigotour. At the audiovisual level, she has worked in La Mesías, a series by Javier Calvo and Javier Ambrossi, and in Autodefensa by Belén Barenys, Berta Prieto and Miguel Ángel Blanca. She has also taken part in other visual projects such as Las niñas de cristal, Chavalas or Fácil, as well as music videos for Rigoberta Bandini, J Balvin or Clara Peya.
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AINA LANAS has worked as a performer and co-creator of movement in companies such as Kulbik, Cirque du Soleil, Jazzbetween, InMotus, Africa Moment, Piny Orquidaceae and LaCerda, touring internationally with many of their shows. She directs her own video dance projects. Her latest project, desasosiego, received three international awards for Best Choreography, Best Short Film and the Grand Award at the Homescreen Festival in San Diego. She has taught Urban Dance as part of the advanced degree in Choreography at the Institut del Teatre and works for the music industry, TV, advertising and brands as a dancer and movement director. She directs her own project, Cia Aina Lanas. She works with Si Los Martes Fueran Viernes, home of improvisation.
EMMA RIBA SANTURÉ has been working as a performer since 2016 with choreographers such as Willi Dorner and Zsuzsa Rózsavölgyi, with the companies Ex Nihilo and Cielo RasO and with ENA (Escena Nacional d’Andorra). In terms of here own creations, she is a member of the company La Súbita together with Laura Alcalà. Together they have created pieces such as Olor de menta, thanks to the project Balla’m un llibre by the APDC and the Generalitat de Catalunya, and Silver Ballad. In Andorra she co-founded the collective L’ERA Arts Escèniques, which works on artistic creation in relation to Andorra’s intangible cultural heritage. She also works with the dancer Rosa Mari Herrador Montoliu on the direction and creation of the shows BRAM and Traginers de pulsions.
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UGE PAÑEDA “Okkre”, sound design and original music. Experimental electronic music producer and sound designer. As a musician and psychologist, she is able to combine these two facets of her professional life which have made her connection with sound a constant exploration through human perception. She has collaborated with choreographers such as Aimar Pérez Galí and Mar Aguiló and has published under international experimental electronic music labels such as Editions Mego, Eotrax and Modern Obscure Music. She has also collaborated on publications and soundtracks with artists such as Ryuichi Sakamoto, Arca or Fennesz and has played at festivals such as Sónar, Berlin Atonal, LEV or MutekMX. ARNAU SALA MAESTRO, lighting design. He has been in charge of lighting for festivals such as the ATP stage at Primavera Sound 2012-2013 or the Monster of Rock in Zaragoza 2009, as well as technical manager at the Teatro Olimpia and the Auditorium of the Palacio de Congresos de Huesca. He has worked on television programmes for Aragó TV, events, fashion shows, advertisements, festivals and various events for the company Rampa Huesca S.L., among others. After a few years specialising in environmental solutions, he returned to the performing arts as technical director of Pere Faura’s company La Diürna; he collaborates with the company CUBE and also works with companies such as Vero Cendoya and artists such as Enric Montefusco, Sonia Gómez, Gaston Core, Núria Guiu, Raquel Gualtero and Marc Parrot, among others. CLÀUDIA SOLWAT, creative consultant. She currently concentrates her activity on the search for the body and movement, teaching and creation. She accompanies and facilitates creative processes as assistant director and assists in choreography and movement (recent collaborations include working with Núria Guiu, Pere Jou and Aurora Bauzà, Guy Nader and Maria Campos, Albert Quesada and Pere Faura). She has been dancing “forever”, moving through different styles and combining this with other types of studies (Psychology, Dance Education, Site-specific Dance, Mindfulness and Diafreo). She has worked as a dancer for various theatre and dance companies, as well as a creator for different stage projects. She offers dance workshops for groups throughout the country and is part of the MOVE ANATOMY collective.
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MANUEL MATEOS, wardrobe assistant (2000, Badalona). He is a costume designer who currently lives and works in Barcelona. He studied an advanced degree in Fashion Design at the BAU (College of Arts & Design Barcelona, 2018-2022) and since then has collaborated as assistant costume designer or costume designer in various theatres in the city such as El Gran Teatre del Liceu, Teatre Lliure, Teatre Romea, Mercat de les Flors and the Grec Festival. RONAK MOSHTAGHI, costume and set designer. She is an Iranian visual artist living between Berlin and Oslo. He studied Painting at the University of Art in Tehran and in 2013 left to study in Oslo, where in 2017 he graduated with a degree in Fine Arts from KHiO, the National Academy of the Arts. Ronak’s art lies at the intersection of drawing, sculpture, installation art and research. Ronak’s work has been shown at Kunsthall Oslo, Louise Dany and Destiny’s Atelier, all in Oslo, and at The Mosaic Rooms in London. She has also been featured at the Black Box Theatre in Oslo, Oktoberdans in Bergen, and Spreeufer in Berlin. In addition to art and research, he also works on self-organised collective projects such as the BAZAR Art Book Fair (2018)
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SOURCES / REFERENCES
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During the performance traces of dances, choreographies, choreographers, dancers, steps, styles, techniques and movement practices are invoked as part of the performer’s affective-body archive. By archive we mean all the movements and dances that are part of our body-memory. These archives can come from very diverse times and places and we might have integrated them through personal relationships, through history and culture or through the visual/virtual world. Archives are sometimes faithful to their source, sometimes in the form of absence, sometimes they appear erased by time, by memory and by one’s own desire to be transformed, hybridized or fictionalized, as it happens in dreams. Sometimes the archives take life beyond our bodies to dance through sound, light, scenography and costumes. During the performance we invoke, channel and exorcize the following archives: *in order of appearance in the piece.
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• Blue, Juan Dominguez (performance, Belgium, 2009) • Waacking (a street dance derivative of punking, which grew out of the gay clubs of Los Angeles, 1970) • Mia Wallace and Vincent Vega (Uma Thurman and John Travolta) in Pulp Fiction (film, 1994), choreography by Lauren Yalango-Grant that combines different steps and dance styles from the ‘60s (“the twist”, “the monkey”, “the swim”, “the Batman or Batusi”) • Romeo and Juliet (ballet, Italy, 1965), Teatro alla Scala, Juliet danced by Alessandra Ferri. • Swan Lake (ballet, Marius Petipa, France, 1895), Black Swan (film, United States, 2010) • Built to Last, Meg Stuart/Damaged Goods (contemporary dance, Belgium, 2012) • Este lugar entre: Prethink and free action. Bea Fernández (Catalonia, 2015) • @yurii_tolochko #dirtymacho #pansexual #caveman (Instagram, 2024) • Fase, ROSAS/Anne Teresa de Keersmaeker (contemporary dance, Belgium, 1982) • Latin dances: salsa (Cuba, 1970), samba (Afro-Brazilian dance, 1838), cha-cha-cha (Cuba, 1950) • Blancaneus (1994), Festival de l’Escola Catalunya • María M. Cabeza de Vaca (dancer and contemporary dance choreographer, Spain, 2024) • What the body does not remember, Última Vez/Wim Vandekeybus (contemporary dance, Belgium, 1987) • Graham technique (contemporary dance technique developed by Martha Graham in the United States between 1930 and 1950) • Grease. Sandy, played by Olivia Newton-John (film, United States, 1978), “You’re The One That I Want”, choreography by Patricia Birch. • Krumping, Ceasare “Tight Eyez” Willis and Jo’Artis Ratti “Big Mijo” (African American dance, 2000) • “Hay que venir al sur”, Raffaella Carrá (Spain, 1978) • La mama i jo fem voltes agafades de mans (document contribution from a participant in the open practice for Supermedium 2023) • Sirtaki, Greek dance choreographed by Giorgios Provias for the film Zorba the Greek (1964) • Sardana (Catalan folk dance, 16th century) • Court ballet (France, 14th century) • El ball de l’envelat (document contribution from a participant in the open practice for Supermedium 2023) • Lambada, Kaoma (Afro-Brazilian dance, 1989) • The Exorcist, by Ann Miles as a specialist on the spiderwalk scene (United States, 1973) • Sexy-style dance (from Dancehall, Jamaica, 1990) • Akram Khan, dancer and choreographer (2000), fusion of contemporary dance and kathak (Indian classical dance). • Billy Goodson, dancer and choreographer for Diana Ross in Love Hangover (Caesar’s Palace, Las Vegas, 1979) • Charlie’s Angels (TV series, United States, 1976-1981) • Lisi Estaras in Alain Platel’s VSPRS (contemporary dance, Belgium, 2007)
• El mar, Àngels Margarit and Agustí Fernández (dance film, 1990) • Black Swan, starring Natalie Portman and choreographed byBenjamin Millepied (film, United States, 2010) • Iyengar yoga with Alexis Simon (Belgium, 2015) • Trisha Brown, Accumulation (modern dance, United States, 1971) • Watermotor, Trisha Brown, video by Babette Mangolte (modern dance, United States, 1978) • Flashdance, starring Jennifer Beals with choreography by Jeffrey Hornaday (film, United States, 1983) • La siesta de un fauno, Vaslav Nijinski (ballet, France, 1912) • “Desesperada”, Marta Sánchez (video clip, Spain, 1993) • Sevillanas (folk dance, Andalusia, Spain, 18th century) • Floss, JStuStudios YouTube channel (YouTube, United States, 2014) • Café Müller by the Tanztheater Wuppertal, with choreography by Pina Bausch (theatre dance, Germany, 1978) • Crowd, Gisèle Vienne (performance/contemporary dance, France, 2017) • “Chicken Teriyaki” challenge, choreography by Natalia Palomares, song by Rosalía (TikTok, 2022) • Twerk (Côte d’Ivoire dance style), perreo (Puerto Rico, 1990) • Retrospective, Xavier Le Roy (performance/conceptual dance at Fundació Antoni Tàpies, Catalonia, 2012) • “I Believe in You”, Kyle Minogue, choreography by Rafael Bonachela (video clip, United States, 2004) • “2 Become 1”, Spice Girls (video clip, United States, 1996) • Deltebre Dansa festival, Roberto Oliván (Catalonia, 2008) • Botafumeiro (Cathedral of Santiago de Compostela, 11th century) • “Techno Viking”, Fuckparade Berlin (viral meme, 2020) • Bright Days, Groupe Pluton (contemporary dance, Belgium, 2020) • Motomami World Tour, Rosalía, choreography by Mecnun Giasar (2022) • Stones & Bones, Rootlessroot (contemporary dance, Greece, 2021) • “Billie Jean”, Michael Jackson (video clip, United States, 1982) • Saturday Night Fever (film, United States, 1977), performed by John Travolta with choreography by Lester Wilson • The Shining, The Grady Girls (film, 1980) • The Ring, character Samara Morgan played by Daveigh Chase (film, United States, 2022) • “Countdown”, Beyoncé, plagiarism of the choreography from Anne Teresa de Keersmaeker’s 1983 ballet, Rosas danst Rosas (United States-Belgium, 2011) • Shiva Nataraja (Hindu god, cosmic dancer, 5th century) • “Gorilla”, Little Simz (United States, 2022) • “The Time of My Life” from Dirty Dancing, choreography by Kenny Ortega, student of Gene Kelly (film, United States, 1987) • Luis Fruta dancing at the disco (dancer, Catalonia, 2024) • Serpentine dance: Loïe Fuller (United States, 1891) • Isadora Duncan (United States, 1877-1927) • Giselle ballet. White Act, “The Willis”, choreography by Jules Perrot and Jean Coralli (France, 1841)
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