for your eternal spring I will dance
Dedicated to my father Gian Franco
with the support of: Mibact and Regione Siciliana
choreography and dance: Benedetta Capanna
musics: Tanya Tagaq and Korean traditional music
Wood – Mù – is the first scene of my new choreographic project of wood and fire… keep dancing. Young but always ancient soul. These elements, associated respectively with spring and summer, are symbols of rebirth and explosion of vitality. During our life, we reborn and die to ourselves many times and looking back it often seems that we have lived more lives in our existence. But the fragmented colours and the images that cross us in a confused way, with and through the dancing body can become light colours and images that cross us differently making us feel part of a whole. In my dance I love to seek rituality, to create a relationship between subtle and unrefined life. In dance I seek clarity, clear vision and crossing: every dance gives us something new and takes us into a new page of ourselves, it is abandonment and evolution. The wood, which needs the humidity of the water to live, is the spring with its windy weather, it is the strong and flexible bamboo. It is the colour green and the East. It is connected to the liver, to the joints, and to the space and represents the movement in all directions. It is Hun, the spirit responsible for every journey of the soul.
This first representation was performed at the InDivenire Festival and received a special mention for “Its theatrical intensity and its capacity to evoke images and atmospheres of rare sensitivity, through a complete and mature command of the body language in a choreographic project supported by an analytic theatrical work”.
In the online magazine “Persiinsala” Wood-Mù was reviewed by Gianluca Valle as follows:
“Wood mù, created and interpreted by Benedetta Capanna, leads the audience into an artistic horizon where the didactic claims and the descriptive purposes leave their place to the pursuit of a formal rigour and abstraction.
On the scene an entire view of the world comes to light, suggesting a relationship with Zen Buddhism or similar forms of eastern spirituality: universe is not a mechanical chain of cause and effect, but – with the words of the famous choreographer Merce Cunningham – “a galaxy of events where everything interacts”.
Dance, therefore, doesn’t fulfil the task of reproducing what is real, but to reveal it: it is not about building up a narrative sequence nor to deliver a specific message but to create choreographic incursions impossible to understand according to the traditional logic. On the stage, Benedetta becomes wood (mù), the first of the five Chinese elements Wu Wing: it is associated with spring, rebirth, the colour green. Strong and flexible like bamboo, it needs the humidity of water as nourishment and it is involved in the life of everything. On the scene Benedetta gives hints of different movements, sometimes wavy and sometimes fixed, but all participating to this cosmic breathing and reminding us that, after all, dancing is “an immediate and pleasant act of life” (M. Cunningham)