Catalina doesn’t party: she is a party. Before she leaves the house she tries on her four pairs of ripped tights to see which look best and in the morning she discovers her bruised cheekbone, stitched-up bite marks, sore calf muscles and that she’s lost her voice. Catalina explodes and by giving out kisses, both good and bad, she manages to make others explode. Given the option of “I am Madame Bovary”, which is not what she’s after at all, Catalina declares, “I am rumba”, as Andrés Calcedo did in his magnum opus ¡Que viva la música!, in which we were shown how to suck our hair just as Lectura Fácil by our colleague Cristina Morales (Herralde Prize 2018) showed us how to walk into the corners of furniture. Catalina is guilty of dance and literature, but she atones for her culture with her brazen attitude.
The Iniciativa Sexual Femenina collective emerged in 2017 in self-managed social centre Can Vies, in Barcelona, with the aim of approaching contemporary dance from a feminist, libertarian and anti-academic perspective. It consists of Élise Moreau (France, 1992), Elisa Keisanen (Finland, 1988) and Cristina Morales (Spain, 1985).
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