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THE BODY OF "EMIGRANT" FIGURES


Are female migrants deciding their destination? What are your reasons for leaving? What processes of reception, integration and acculturation happen to them today? What do the statistics, the percentages and the flurry of data that bring us about the latest emigration mean? We want to think Galicia interterritorial together. Those who are outside and those who remain inside. Those we leave or those who return.

These, and many others, are the questions in the voice of Branca Novoneyra that open the piece  Emigrantas, which last April 30 could be seen at the Auditorio Gustavo Freire de Lugo in the frame of the program Lugo en Danza (LED), organized by the Council of Lugo. On stage, two ballerinas. Esther Latorre, trained in Galicia and returned to the country after starting her career in Valencia. David Loira, the legendary Galician dancer now resident in Berlin. The two, and a scenography with the 24 kilograms that can fit in a suitcase. "Now it's ten, nothing more, every day the allowed weight is less", said David the day before the performance. "He now came from Berlin with only this backpack", pointed out Kirenia Martínez Acosta, director of the piece. Will she be tired of people saying 'Cuban dancer and choreographer living in Galicia'? What routes hide these phrases with which we quickly adjust a biography? It's about Emigrantas about the ends they tend to and the senses they appreciate.

Kirenia says that  on stage she didn't want much more than that: two dancers, and that only towards the end of the piece was she allowed to play with the light. "I didn't want to seduce", he says. That history, the history of emigration, also needed to be seen in some way naked, whole on one body, on two bodies, always singular at the bottom of the numbers. Corpos sin no more sustains than that long exceptional dialogue, David and Esther, which nonetheless sustains the intense attention of an audience that also ends up exhausted after that hour. The dance that takes them to get rid of the weight we place on them, the emigrants, is exhausting. Why is it so hard to see them? It seems that the excess of vision blinded them, that the numbers, the figures, the images with which they are quickly associated prevented their vision that finally happens.


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