Dance Day 29 April 2015

29 Abr Dance Day 29 April 2015

The official message for

Dance Day

29 April 2015

Sergei Diaghilev

RIA Novosti

RIA Novosti

A century ago famous Russian ballet organizer Sergei Diaghilev revolutionized by inviting the Most Talented painters and musicians of His Time to Contribute to His performances. I have the impression That present day choreographers neglect the other arts, do not feel the need to present Their creations alongside Their equals in other fields.


I am sure would appreciate more arts audiences included in dance performances, starting with the classical arts: painting, sculpture, theater, music, poetry, architecture, as well as more modern forms like photography, cinema, multimedia, lighting design, sound design. Let me Go further in proposing to enrich choreography With The humanities (history, literature, philosophy and linguistics). Particularly Personally I would enjoy storytelling, martial arts, and – I mean it very seriously – culinary arts.


There is nothing new to it, ancient Greeks in Their symposia combined all the above. After 25 centuries Could we return to the notion That performance combine to complete as many arts as possible.


This year the International Dance Council CID joins forces with a sister organization to celebrate Dance Day. The International Association of Art IAA / AIAP is a non-governmental organization Whose offices are next to ours at UNESCO. Our common proposal is to combine dance with painting, drawing, sculpture or other forms of creative work in the visual arts.


Many thanks to Ms. Rosa-Maria Burillo from Mexico, World President of IAA / AIAP, WHO Mobilized artists from dozens of countries suggesting They Cooperate With choreographers, dancers and dance teachers in common events: performances, exhibitions, happenings, flash mobs, worship meetings , therapeutic sessions and (why not?) banquets!



Alkis Raftis

President of the International Dance Council CID



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Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

“Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem “Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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