Aibar – rabiA

Vanesa Aibar’s career is characterized by an inexhaustible artistic quest rooted in flamenco and Spanish dance. Within this quest lies her collaboration with the eminent Spanish crystallographer Juan Manuel García-Ruiz, with whom she has been developing a fruitful dialogue for years. The scientist’s latest research explores how mineral structures mimic primitive life forms, leading to the fundamental question: where is the line that separates mere mineral self-organization from life? The choreographer takes up this question and translates it into her own body. If García-Ruiz’s research delves into the origin of life, here the exploration turns to the origin of dance itself and its formalization.

In Rabia, the choreographer from Jaén holds a mirror up to herself and dissects the calligraphy of her own movement. She does so not out of mere narcissism, but to create a “tabula rasa” and glimpse the original energy from which everything arises. Aibar, with the collaboration of Guillermo Weickert, pushes this introspection to its limits, giving birth to a new movement, far removed from established norms and codes; a language that doesn’t shy away from being, at times, mere babble. The precise technique, the luminous geometry, the cathartic dance, the untamed beauty, and the surrender to movement remain. But something else appears—still nameless—that erupts with the force of something newly born and yet unbaptized. Rage is cosmogony and consummation, genesis and apocalypse. The choreographer twists and expands the syntax of her dance, continuing to offer a living, present dance that shakes bodies, because that is where the mysteries of the soul are revealed.