Issue - May 2007

May 2007

In this Issue, an interview with Ana Cecilia Moreno, how she wanted to break the image of elite dance. Caroline Amouyal met with Anysongo.

Read about the history of Los Tiempos our local newspaper in Cochabamba. Andean Traditions, always present in our more...

May 2007


Age: 29
Profession: Contemporary dance professor, Dancer, Choreographer.
Studies: Contemporary dance (in Mexico)

by Tania Delamotte
Volunteer Projects Abroad
Paris, France
Audencia Ecole de Management- Nantes -France

Cocha-Banner: How did You become a professional dancer?

Ana Cecilia Morena: I started taking dancing lessons when I was six, with the famous Bolivian dancer Melo Tomsich. It soon became my favorite activity and I decided to try and make a living out of it. So, in 1989 I went to Mexico to study at the Centro National de Danza Contemporanea. There, I learned the famous Graham technique and studied to become a teacher. When I came back in 2001 I met Johnny Perez and we created “Atempo Danza”, a dancing company. In 2003 we started working as well with Patricia Sojas and we founded the “Espacio Talleres Atempo” to teach dancing. Finally we created the “Centro Arde”.

It is a space of fusion between art and sport, as shown by its name: Ar stands for arte and de stands for deporte. We created it in collaboration with gymnasts, because we all needed a place to practice our different activities. We are all very proud of this place, because we built it up almost all by ourselves (we even installed the light and the electricity alone!)

CB: In the dancing school, Espcio Talleres Atempo, what is the profile of your students?

ACM: Well we have many different groups. The age of the students varies from four years old to senior citizens! The groups between four and thirty years old perform presentations at the end of the year. Senior citizens come to cultivate their spirit and their body.

I have to admit that people who take dance classes are part of an elite. In Bolivia, dancing is seen as a bohemian hobby. But we are trying to break this image and make people aware that dancing can be for everyone. Thus, together with Patricia Sojas, we created the project “Nuevas formas de expresion” in Punata. It consists in giving free lessons once a week for young people and teachers. Our aim is to value traditions through corporal expression.

CB: For you, then, dancing is a form of communication?

ACM: Definitely, when you are dancing you transform yourself and have a very special relation with the public. That is why we tried to give our dancing a social sense, because we think it is meant to transmit a message.

We first wanted to break this image of dancing reserved to an elite. So we made it accessible to everyone by giving shows in the street.

We try, as well, to revalue Bolivian culture and what Bolivia is through dancing. In 2003 and 2004, for example, we created “Lagun Mayu”, a play which tells the life of the “regantes tichipaya” near Cochabamba and the “guerra del agua” in Bolivia.

It is astonishing how well the movements of your body can transmit something special to the public. Recently we presented “Vientre Mineral,” a show about the minors and their production. We went to live with them, because by knowing them and their life, by studying their repetitive movements, it is the best way to create a whole show about them.

Until about ten years ago, the main destination for Bolivian emigrants was Argentina but when the country drove into serious economic crisis in 1998/2002 all the Argentineans left the country themselves for Europe, which drew the Bolivians from this new Eldorado as well..."
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