CENIT Y NADIR
About the Company
With the aspiration to form a contemporary dance company, Marlyn Attie has collaborated with Ingmar Herrera and other artists since 2017 to create research proupestas that include a deep audio and movement studio. For this creation, the collaboration also included Jonathan Harker, Raphael Salazar and other video artists who worked on the conceptualization and creation of a video-dance piece. Previous creations include Forja – 2016, De a coco – 2017, El Umbral 2018, Crush 2018. Her creations have been scheduled at Festival Prisma, Panama 2018; Edanco Festival, Dominican Republic, 2018, Women in Dance Conference, Philadelphia, 2019.She is currently in the process of certification as an instructor of Gaga – movement language developed by Ohad Naharin.
About the Piece
When evoking Panama, the most common imaginary is that of tropical landscape, jungle, abundance, boiling of greens and activity; Very little would be associated with an arid landscape, scarcity or stillness. Our piece, Cénit and Nadir, starts from an investigation about Sarigua and transports us to the desert, a space where historically, in literature, opposite extremes coexist and whose delusional temperatures suggest an aura of purification and redemption.
Sarigua hosts incessant gusts of wind that remind us of what we once were. Apparent stillness in an inhospitable and empty space that invites you to lose yourself, get out of yourself and empty yourself little by little too. The wind constant against cracked earth and the few obstacles confuse perception as it passes through the logic filter; so much force should give rise to loud impulses, but nothing moves. A reflection of our unconscious, which machines with great force without realizing it and unexpectedly breaks into reality.This disharmony, together with the freedom of a monotonous landscape allows us to turn into a state of inner deepening without restriction, in a contemplative state of what we were, what we are and what we can become.
When crossing the cracks of Sarigua it is inevitable to travel in our personal stories where there are also scars of what we were and are no longer, and of the relationships we had and lost. That land that is believed dead, in turn vibrates with the potential of what could be, of what we could be.