Gavines i Dragons. Nacho Duato
CND ARCHIVE NACHO DUATO REPERTOIRE 90/10
- Choreography: Nacho Duato
- Music: María del Mar Bonet
- Sets: Walter Nobbe (Arenal) Nacho Duato (Jardí Tancat)
- Costumes: Nacho Duato
- Light Design: Edward Effron (Arenal) Nicolás Fischtel (Jardí Tancat)
Jardí Tancat was World premiered by the Nederlands Dans Theater 2 in Hoorn, December, 19th, 1983, and by Compañía Nacional de Danza at Teatro Albéniz , Madrid, April 3rd, 1992
Gavines i Dragons was World premiered by Compañía Nacional de Danza at Festival de Vaison Le Romaine, July 16th, 1998.
Gavines i Dragons is the result of the union of two of the most emblematic ballets of Nacho Duato’s creative origins.
Nacho Duato explains how Bonet’s music was a great source of inspiration for his work, at a particular time. Firstly, with Jardí Tancat and, subsequently, after listening to Gavines i Dragons, with Arenal. Colour, choreography, movement, in brief; everything in both pieces is undeniably Mediterranean.
Jardí Tancat, Duato’s first choreographic work, is choreographed based on work songs of both land and sea labourers, in which the voice recalls both the harshness of their work and their loves. Arenal is, according to its creator, an extension of Jardí Tancat but more vital and joyful and more faithful to the songs’ internal rhythms, without abandoning the world of common people and work”.
“I have always known that my songs were born with rhythm, but I only really became aware of it the day Nacho Duato danced to them. When I saw the first choreography, Jardí Tancat, I was quite excited. He had given them another life, they were independent and at the same time tied to me, yet they had acquired a new palpitation, they had taken a different road.
There is something in Arenal that has always fascinated me: the treatment of the Majorcan work songs which I sing a capella. These are songs which form part of our earliest Majorcan tradition, but which are no longer sung where they come from or what they were created for, that is the work in the fields. There are hardly any places in Majorca where work in the country is still the same as forty or fifty years ago. However, when Nacho used them for his choreographies he gave them back this role of unique pieces, as if they were precious stones.
While Jardí Tancat was so full of life, in Arenal I have been discovering an inner passion each time I sing with them. I will never tire of repeating that these choreographies of Nacho Duato have been one of the most precious artistic presents I have ever received. I believe they belong to that type of things which goes hand in hand with the most deeply felt emotions and it is hard to explain with words.
"Thank you, Nacho”
María del Mar Bonet