Unesco/Congress International of Dance

cid-logoThe Congress International on Dance (CID) was founded in 1973 within the

 

UNESCO headquarters in Paris, where it is based. CID is a branch of UNESCO (United Nations Education, Science, Cultural Organization) and was formed to preserve dance forms around the world.

 

CID has over 17,000 members globally and is the official organization for all forms of dance in all countries of the world. Its members are the most prominent federations, associations, schools, companies and individuals in more than 170 countries.

 

One must be nominated to become a member. Fernando Barros Lirola was nominated last summer while he was in Santa Fe. 

 

Fernando Barros Lirola spoke with president, dance historian and author Dr. Raftis Alkis, last January in Madrid, at which time Dr. Alkis asked him to write a description of flamenco in the Mediterranean region, which could supplement his new book on the history of dance in ancient Greece and the Byzantine. Although Fernando’s specialty is song, there is no disconnect for him between the music of the singer with dance and guitar.

 

Subsequently Fernando was invited to participate in the 42nd World Congress on Dance Research as a member of CID.

 

42nd World Congress on Dance Research                                                                               

Hallandale Beach, Miami, Florida. September 16th—20th, 2015

 

CID-UNESCO is hosting the 42nd International World Congress on Dance research. September 16th to 20th 2015 in Broward County, Florida, USA.

 
You are invited to attend the Hallandale Beach Annual Dance Congress 2015, to be held In Hallandale, Aventura, Miami, Florida USA. On September 16th-20th, 2015. This unique event is open to all forms of dance: Ballet, Modern, Folks, Ballroom, Oriental, Argentine Tango, Ballroom Kompa, Therapeutical, Recreational, Revival etc.

 

Theme of the Congress is:  “Cultural Diversity – Communication, Tourism & Dance Medicine”

 

 The program includes: scientific research papers, lectures, workshops, video presentations, exhibitions, performances.

 

We welcome specialists in cultural studies, art historians, psychologists, sociologists, anthropologists, philosophers, Choreologist, Choreographers, dance teachers, dance therapists, dance film directors and professionals representing all forms of dance from all over the world.

 

President of CID Prof. Dr. Alkis Raftis & CID officials will attend.

 

For more information, call +1 505-603-0743

2019 PERFORMANCES

                 

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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Email: barroslirola@gmail.com