From the very onset of my career as creator I have been swimming in nonlinear narrations. It’s a way of cooking with only natural ingredients, in which I examine the fragmented physicality, the open space, changing light, and an eclectic soundtrack. I do not conceive movement without an idea of the ever-changing lighting, space, and rhythm. The layers of the play move around a concept that captures my curiosity: in this case, offspring.

El hijo (The Son) talks of the special bonds to parents and places, and how to deal with them. In a certain way, offspring understand themselves as individuals unloosening from the bond, yet hopelessly entangled in a repetition of manners and actions. Something which can only be partially explained because at the end of the day individuals always carry within them the echoing reinterpretation of their particular story.

Man in nature is engendered from the wonders of birth, and from then on his development is conditioned by the preferences and culture that shape him and his path through life. I present this descendant through the poetics of imagery and sound, and without showing them, I talk of his progenitors, places, and, above all, the magic that brought him to life. Through dance I release the rejoicing of what it means to be alive and have a story to tell, the experience and enthusiasm of being a son, the relationship with natural cycles and systems, and with them, the combined reactions within and beyond that are bearing witness to one’s existence.

In the play, a present-day conscious body moves repeatedly between other worlds inaccessible to the naked eye. With events portrayed in light and shadow, these worlds affect us and guide us along our outer paths and inner feelings. As emotional beings, we are all affected by the context of events that unfold in nature. With these words, I present El hijo