Dance is a means to acknowledge life. It is a way of discovering what I don’t know at any present moment. Dance is a metaphor for life. Whatever happens in classes, rehearsals or performances, often transcends life. When we dance, our body manifests itself and becomes a sensation, action and emotion.
We tend to consider dance and art as something separated from daily life, but can we make “this” part of our life? Is it possible to make a life from unexpected moments? Can we embrace them without fear and with curiosity? Can we have an unexpected but organized and clear life? Can our life be in constant change without going adrift? And if this is the case, is it possible to make a dance out of it? Or dance through our fears? Can we accept movement and changes as part of being alive?
biography: Marisa is a stage artist, director, choreographer, researcher and teacher in dance and creative processes. She has directed the Interdisciplinary project Ruedapiés since 2005. This is an integrated base project which works with people with and without disabilities in a context of mixed ability dance. This project develops pedagogically through, workshops, training and performances. Contact Improvisation and contemporary dance principles are the main tools for the development of pieces.
She taught New Languages of Movement and Composition at the Miguel Hernández University, Dance Faculty; Drama Arts School ESAD, UCAM University; National University in Costa Rica UNA and at various postgraduate university programs.
During three years, she studied and developed artistic work in the US. This was possible through Fulbright and Seneca awards. She holds a Master Degree in Interdisciplinary Arts, San Francisco State University. She is a graduate of the Integrative Arts and Somatic Movement Therapy at Moving On Center, California, Dramatic Arts (Escuela Superior de Arte Dramático, Spain). She is a Specialist in Composition and Improvisation at the School for New Dance Development, Amsterdam.
Her main Contact Improvisation background comes from the School for New Dance Development in Amsterdam, as well as from the following San Francisco teachers: Ray Chung, Martin Keogh, Karl Frost, Carol Swann, Bill MaCoully, Andrew Harwood, Scott Wells and Alito Alessi. She also was strongly influenced by the Jams in Berkeley and Divisadero in San Francisco. Other important mentors have been Julyen Hamilton, María Muñoz (Malpelo) and Katie Duck. As complementary techniques she trained in Somatic Movement, with emphasis in Body Mind Centering, Alexander Technique, Bartennieff and Yoga. She choreographed, directed and performed in EEUU, Europe and Spain.
Since 2003 she has been teaching New Dance and Contact Improvisation in schools in Murcia and Valencia. She teaches Integrated Dance throughout Spain, Europe and Central America.
She developed a series of solo pieces (Pieces as Objects), and collaborative works including those with Trinidad Martínez (Tomaito Rouge, Donde tú quieras) and directed six large pieces of Integrated Dance. She is currently living in Spain, working with different Contact Improvisation communities, Integrated Dance and creative process. She is writing a PHD Thesis in Integrated Dance and Contemporary Arts.