Yo no puedo decir que todos los mirlos son negros. Porque un día vi mirlos blancos

Barcelona (2007)

Explanation of a work in progress.

He only dances outwards. The dancers had bellies. A lot of technique but not much personality. Gets drunk on movement. They don't point their feet. Has trouble with the first. She only dances inwards. No definition. Too much tension. Another example of the typical Catalan instep. Doesn't control his extremities. Stiff and not very flexible. Lacking plié. Bad alignment. Loses her centre on the turns. Only reproduces forms...
This is a list of comments that I've heard - and on occasion even expressed myself - when leaving different movement-related performances.

The question is: On what do we base ourselves when we issue these kinds of judgements? In other words, Who has the right to pontificate and decide that one movement is good and another isn't?
Any grounds used to class movement can be dismantled.

This is the starting point for the investigation.
The development of dance, and movement in general, has been based on the incorporation of new forms that then establish new movements (or vice versa, new movements that establish new forms) and the abandoning older ones. In this way, forms and movements have gradually been renewed, but over time the new additions become techniques or schools, and finally form constellations of immoveable and impermeable rocks, in the image and likeness of those they replace.

Everything new initially seems absurd. Then, in the face of the status quo it becomes the absurd disguised as academic or a consecrated truth, until finally, with the passing of time, it returns to absurdity.

By now, there's no sense in setting out to find a new way of moving, however personal or acrobatic it may be. The idea is to start with what I have: movement (my movement) and try to strip it as much as possible of 'academic' ideas or forms (the more I learn, the more I try to forget), as a starting point for investigating the principles at its heart. For the moment, I'm concentrating on three main blocks:

1 Order and transmission. The origin of movement in the brain, from where an order is sent to the muscles through the nervous system.

2 Motor. The materialisation of movement through muscle activity.

3 Structure. Of how an extremely complex structure such as the human body adapts and maintains its distribution in each and every one of the positions it passes through in the course of a series of movements.

This project began in September 2006 and will continue throughout 2007, divided into blocks or residencies with corresponding presentations of the work in process. For the moment, I've worked for a month and a half. I've established the fundamentals of movement on which the study will be based, and I've confirmed that a video camera is a good tool for capturing forms and movements at a level that is imperceptible to the human eye. By editing and then reproducing these images, it is possible to make those forms, positions or movements that the human eye initially missed, surface again in a format that allows them to be appreciated.
So, for the time being, I'm clear about my line of research and I'm starting to find tools and formats.

They're so hairy the great artists of the 20th century, that when I think of their scalps I feel the zeal of a new Sitting Bull. Once we've discarded all explanations from all beliefs, I tell you what I think: any scalper is himself likely to be scalped, but it is discourteous to an enemy to wear a wig.

Direction and performance: Sergi Fäustino
Images: Mònica Pascual
With the support of: research residency at the Tanzquartier Wien-program IDEE and La Porta/espacio cómodo