Pol
Jiménez
POL JIMÉNEZ is an artist trained in Spanish dance and flamenco, he is constantly searching for new codes and contemporary scenic and theoretical inquiries to enrich his creations. He studied Spanish dance at the Conservatori Professional de Dansa de Barcelona, representing the school as a choreographer at the Assemblée Internationale 2013 in Toronto, organized by Canada’s National Ballet School, and at the Centro Andaluz de Danza in Seville.
Despite his youth, he has built a solid career as a dancer and choreographer, working with companies and artists such as La Fura dels Baus, Cesc Gelabert, Juan Carlos Lérida, José Manuel Álvarez, Ángel Rojas, Joaquín Collado, Kadia Faraux, and Mdvd. He is also a member of the music group Los Aurora.
His productions premiere at venues like Mercat de les Flors, Sala Hiroshima, and Fira Mediterrània de Manresa, earning awards such as "Best Dancer" at the 2018 Premis de la Crítica de les Arts Escèniques and the XXV Premis Butaca. Notable works include En el corral, Nu, Katakana, La Oscilante, and Lo Faunal.
He has performed at festivals and venues such as Fira Tàrrega, Dansa Metropolitana, Danza a Escena, Theatre Vanves, Antic Teatre, Teatre Echegaray, Festival Dansàneu, Festival Clubs, Rencontres Choréographiques, and the Centre National de la Danse, among others.
He teaches at La Tacones and coordinates the "Se avecina" series at Pla Roig and "Cronexiones" at La Tacones. He is currently touring with his latest production Lo Faunal and collaborating with Joaquín Collado, Jordi Latorre, Los Aurora, and the project Les Hereves by Flamenco Projects, alongside his brother, Guillem Jiménez, and sisters Lorena and Marta Nogal.
¿Y la Copla?
¿Y la Copla?. What kind of body could dance the Spanish Copla? This artistic genre from early 20th-century Spain combines music, lyrics, and performance. A solo dance piece aiming to undress and strip down the Copla, allowing other possible figures hidden within the popular tradition to emerge—figures that are blurred, that each person reads and imagines through their own lens.
I would like to propose a body that cannot be defined, one that builds itself and dances in the present moment, only to dissolve and question itself again. My interest in Spanish folklore and identity continues. How can we see ourselves and reflect on the great Copla icons, as well as the many artists who embodied and reinterpreted them, from the smallest venues to the grandest theatres?
What was happening at the same time outside the national territory? How can we find connections with artists from other genres to create a bridge or a dialogue? After residencies at Graner and Unió Santcugatenca, for La Caldera, I propose to delve into the concept of the café cantant, from its definition to its staging, focusing on the mantón as an element and the body as the driving force.
AGENERO (La oscilante)
Si denominásemos como 'Cuerpo Agénero’ aquel que no representa un sexo definido desde perspectivas binarias, ¿como podría ser ese cuerpo Agénero a partir del lenguaje de la danza española? En la residència en La Caldera trabajaremos en la deconstrucción del cuerpo de danza española cuestionando lo binario de su léxico corpóreo. Lo del hombre y lo de la mujer. Los pasos y las poses. Mezclar hasta que se difuminen o evidencien las diferencias.
Katakana
La primera vez, que vi "Kill Bill" de Quentin Tarantino, me quedé realmente impresionado.
Podía ver perfectamente a Uma Thurman, con las cantanyoles y los zapatos, preparada para salir a escena, posee todos los rasgos característicos de una bailarina de danza española.
Fue entonces, cuando pensé que trabajar bajo la influencia de este film, y con el lenguaje de la danza española, podía ser un gran reto. Aprovechando toda la riqueza cinematográfica, que nos ofrece, que si nos fijamos, podría ser propia de una coreografía contemporánea.
Cuerpos que vibran, bailan y crean, desde una libertad potente y regeneradora ... esto es KATAKANA.
