A young body: a thoracic cage, two hands, some hairs, quite a lot of flesh and significant amount of bones. This is what you see when the light turns on, on stage. And it starts dancing, according rules: scenic rules, contemporary technic, theatrical cues. It can’t stop otherwise it mean the show is over, so it dances. Does it choose it movement? Or the body is just so full of heritance and legacy (from past teacher, dance figures, ancestor or familial thread) that it doesn’t choose what it dances, can it really choose? Can it go out of what it learns, what it is made for?

When the music starts it start, she starts: the young ballerina in the music jewelry box, because she doesn’t have any-other guide than these melodic sounds and she goes in an infinite turn as long as the music go on.

But in this specific jewellery box that is the stage, When the dancer starts, the music starts. The sound of her thoracic cage, her two hands, her hairs, this quite a lot of flesh and significant amount of bones start to go in movement and the hands meet each others, the thoracic cage inhale and exhale, the flesh slap the floor, slide on the skin, and this significant amount of bones collapse on the linoleum and the sounds she produce while dancing become a melody.

What if the ballerina of the song box is the one making the music?

This solo is a continuation of Lisa’s research about visuosonic movement, (percussive sound created through movement), and investigation of what a dancer is made of. In Where you gonna run to? she decided to explore the heritage as a weight and support. The solo showcases the song of Nina Simone -Sinnerman– played live at the piano by Fernando Romero Suarez, in conversation with the energetic choreography of Lisa sometimes inspired by Trisha’s famous piece Water Motor. This combination gave birth to a playful and rhythmical performance, a conversation between music, performer and audience.