A b o u t „CRESCENT”:
As women we live our whole life policed, through criticism, catcalling, harassment, abuse and rape. We are expected to be desirable and beautiful, but we are the sole responsible for male desire and its consequences towards us. We are expected to be empowered, cool, to enjoy our sexualities, but criticized and labelled as whores and easy. Our value is determined by the number of sexual partners we have, but we are lame and prudes if we don't have any. How can we have a healthy relationship with our own sexualities and our own desires when we grow up surrounded by these contradictions? How can we feel we have control without going into dynamics of wanting to please, perfectionism, and self-restraint? Where lies our power, when we are seen, and encouraged to see ourselves, never as subjects but as objects which main value is the desire they inspire, but loose once we give our bodies to someone, as merely merch? The journey to this realization, to the realization that as women we are not truly humans, we are not as smart, as funny, as strong, as interesting, as objective as we believe we are, is a journey full of rage. To the realization that we are raised to be liked by others, to live searching for approval, being more important to be nice and not to bother anyone, putting the comfort of others before even our own safety. To realize we have ingrained a deep fear of rejection, accompanied by the insecurities created by the constant subtle message that we are not enough. The consciousness of the mutilations of our own characters, of our possibilities, leads to nothing but anger. This piece talks about this anger. It goes to the places where it accumulates. It talks about the fear of losing control, the fear of losing power, and how we restraint ourselves.
A b o u t NAIA URRESTI:
Naia Urresti is a Venezuelan dancer and choreographer based in Berlin. From a really young age she starts her investigation of the body and performing arts through artistic gymnasts and theatre, studying acting in the Centre of Artistic Creation T.E.T. and taking part in diverse theatre workshops with Maria Fernanda Ferro, Diana Peñalver, among others. She worked as an actress in different professional projects such as La Ola, Jack y las Habichuelas Mágicas, La Princesa y el Dragón and La Leyenda de Robin Hood with the Theatre Group Skena; and The Importance of being Ernest with Amentia Teatro. She also started her labour as an educator guiding theatre workshops in schools with the company Skena. Later on she continued her education in Contemporary Dance, Flying Low and Passing Through, Ballet, Improvisation and Contact Improvisation with different institutions in Caracas, such as Taller Experimental de Danza Pisorrojo, Taller de Danza de Caracas and UNEARTE, and having among her teachers Susan Bello, Evelyn Pérez, Cristina Gallardo, Inés Rojas y Carlos Penso. Having professionally dance with diverse venezuelan dance companies such as Pisorrojo (Nepente, The Nutcracker, Fértil, Tesela, Pilastra, Seis Ecos), Neodanza (Azar, Festival de Improvisación Día 13, El Boquete, Furor Navideño), Sieteocho (Análogo) and Proyecto Movimiento (O: Una Mirada a Oriente desde Occidente), she continued her investigation in Europe taking workshops with David Zambrano, Humanhood, Sharon Friedman, Siciliano Contemporary Ballet, Tomi Paasonen, Descalzhina Danza and taking part of the EBB Junior Company. Once in Germany, she starts her investigation as a choreographer developing solo pieces, among them Buscando (2020), 1990 (2021) and Penelope (2022) and presentig her projects in different spaces in Berlin.
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