ARTISTIC REPORT - SOUL PROJECT
Amsterdam, 3
rd
December 2007Here is the report concerning the artistic view for Soul Project, the latestchoreography that I conceived and directed last year, with the participation of aninternational cast of twelve dancers from all around the globe. It premiered at theBrakke Grond, Nes Theaters, Amsterdam, in September 2006.We are still taking Soul Project on the road. And since the premiere, it has been afantastic voyage, a full adventure from the beginning of the creation period until thesedays. We, all the participants and myself, have very much learnt from the whole process of making Soul Project from the start until the last performance we did as partof ‘enCru’, at the Mercat de les Flors theatre in Barcelona, Spain last November 2007.Every performance of Soul Project has been a learning experience for each one of the participants including myself.From the beginning of the making of Soul Project until these days, my goals have been achieved. I began with the simple idea of making a dance piece composed bysolo’s, and that it could be possible to tour it with a minimum of two people, and amaximum of twelve, while keeping the essence of the work. Wondering how one canmove as hot, deep and superficial as the fantastic soul singers do, passing from onestate of mind into another in one shot. And at the same time, performing each solo in aspontaneous way.I wanted to make a dance piece where the audience will come in and share the samespace of the performers and watch each solo one by one. I wanted the audience toexperience the journey of each performer as we, all the performers, did during thecreation period. At the beginning of the process I had the idea of guiding the audienceinto the stage by a lighting plan but then I thought of another way. I took the role of aMaster of Ceremony in order to welcome the audience outside of the theatre andverbally explaining how to watch the performance inside the theatre. That was a newway for me and it worked very well.I related the word “soul” with the sole of our feet. We performed for each other fromthe start of our first rehearsals keeping the soles of our feet very well planted on theground. The solo dancer including myself could go or travel with his/her imagination physically manifested through her/his body, as far as it could, but always keepingher/his soles very well connected with the floor. It was another way of exercising polarity. One could go as far and wild as one could without forgetting ones roots.For some reason, besides the phonetic analogy of the words soul and sole, I relatedthe full expression of our souls with a deep connection with the Earth.Then, the unique evocative movement vocabulary that came out from combining fivedifferent movement qualities (tension, soft as a feather, physically or mentally out of control, fraction movement, and shaking or vibrating) was also new for all the participants, and it definitively helped us to relate with the way Soul singers sing.As the process went by, I began to experience each spontaneous solo performance asan egocentric dance performance. Not in the negative meaning of the word egocentric.I was rather experiencing a physical manifestation of my relationship with anegocentric society. For example, a society where the individual searches for his/her
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Artistic Report of Soul Project by David Zambrano 2007
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