ORIGánika

For the creation of ORIGánika, Juliana Reyes and Paloma Hurtado discussed the “origin” as a concept and as bodily matter. Where do we come from and where are we going? What differentiates us from other living beings, if we all seem to come from the same place? What is this cycle of life that begins and ends like? Does it really end? Does our matter always return to the source from which it originated? Is matter created and destroyed, or does it transform? were some of the questions that started the search. Just days before beginning the creative process, questions about life and death touched tangible reality, transforming the rhetoric of these questions into personal experience. It was then decided to include Paloma’s mother in the creation, as her fundamental partner in the scene, to explore that mother-daughter relationship: the origin, the ancestry, life and its cycles, and of course death as part of it, the ultimate goal or new rebirth. Their bodies are exposed, in their rawest naturalness. Paloma is a dancer, her mother isn’t. Paloma is young, her mother isn’t. Paloma knows the stage; her mother is a foreigner there. Paloma takes care of her and guides her through the process, just as her mother did with her throughout her life. And it is in this vital, emotional, natural, and tremendously organic encounter that ORIGánika finds the way to speak about life and death as part of the natural cycle of existence.