El movimiento

Belén Maya, María del Mar Suárez La Chachi and Fernando López want to propose an alternative vision of the History of the Performing Arts in Spain, giving value, among others, to the artists explicitly committed to feminist causes. These feminist artists were very successful at the beginning of the 20th century and transmitted a message of undeniabledepth and social progress about sexual freedom, equality between men and women, the importance of women in the field of politics, etc

As a consequence of the Spanish Civil War (1936-1939) and the establishment of Franco’s Dictatorship, many of these artists retired, went into exile or modified their repertoire, thus silencing the voice of a movement for women’s rights and for equality between men and women that had reached a relevant level in Spanish society at that time. In “The Movement” six of these songs are reactivated by dancing, transformed musically (thanks to the work of the composer Jaume Clotet) and deconstructed in relation to the lyrics’ content. Therefore, the songs are approached from the body and from the words, proposing a first "act" in which they are danced from the angle of the "politicization of art", while in the second the lyrics of the songs themselves become the material of a hilarious political meeting in which the artists show the most theatrical and performative side of democracy.