Mucha MuchachaFor Four Riders
Mucha MuchachaFor Four Riders
Boris Hristov House of Culture
Start: 19:30
Duration: 90 min
Age: strictly 18+

The theatre hall is accessible for visitors with limited mobility


Performed by Ana Botia, Marta Mármol, Belén Martí Lluch, Marina de Remedios and Los Voluble
Off stage: Celso Jiménez
Lighting design by Carlos Marquerie
Sound Design: Adolfo Garcia
Costume Director: Carlos Carvento
Sound Design: Rafa Garquez
Folklore: Kike Arias
Tambouras: Angela Calvo and Ariane Yahyai
Cant de feina: Maria Rodes
Two-voice singing: Francesca Joan
Technical Coordinator: Cristina Bolivar
Photography: Selena Marti and Mario Zamora
Audio-visual recordings: Alván Prado, Adolfo García, Carlos Carvento, Kike Arias

Production by Mucha Mucha in co-production with Teatre Principal de Palma.
Produced with the support of the Contemporary Creativity Grant of the Madrid City Council. With the collaboration of Réplika Teatro, Centro Coreográfico Canal and Centro de creación Eima Creaciò. with the support of the Goethe-Institut Madrid.

For Four Riders

Spain is riddled with cultural traditions, which the dance company Mucha Muchacha conceptualises in the future continuous verb tense. If the folklore of tomorrow was being created today, where would it happen? Spain's rich heritage holds a variety of answers. In the gardens of Madrid. In the squares of Barcelona. On the dance floor in Ibiza. By the bullfighting arena in Ronda, Malaga? In front of the statue of the iconic artistic Generation`27 in Seville? Folklore was invented - somewhere, sometime, somehow. Embraced, transmitted and performed to ride through the ages with the conviction that it belongs to its community and distinguishes it.

The performance For Four Riders talks about the body's ability to contain time, and create through it. It begins with fictions, emotions and collective authorship in the past, the main ingredients of the famous Spanish folk dances that the performers of the company master so well. Among them are the Basque festive dance of the aurrescu, the Andalusian fandango and the castanetti-accompanied musical and dance style of the jota. Through a contemporary prism, these and other dance forms are the purpose and cause of what folklore is to achieve - to connect individuals and communities, to forge pathways between them.

In For Four Riders, the bodies are both horses and riders, tools and craftsmen. It's a gallop towards the discovery of a new possible folklore, a kind of artistic attempt to understand who we are and where we are going through the art of dance. Mucha Muchacha conduct their experiment on stage with exquisite physicality and utmost emotionality. Lighting and visual effects, interesting radio chronicles, reggaeton, flamenco and electronic music become the breeding ground for the dance of the future. Or at least the idea of it, shown through movements, music and energy.

For Mucha Muchacha, new folklore cannot be created in a closed environment. There should be no geographical outlines, time boundaries, localized dimensions, nor labels of any kind. Live music by the magnetic duo Los Voluble, combining flamenco with electronic music, expands the range of emotions. There are also no specific costumes or costumes, quite the opposite. Dance becomes a tribune for another identity pinned to a particular language, period and territory. It is simply free, accepting, unleashed. And this is its utmost value that everyone can share.

The Inspiration

Someone will remember us, I affirm, even in another age. – SAPPHO

We have been studying the history of Spanish dance and folklore all our lives and, in some sense, it has always seemed alien to us. To domesticate and academise life, celebration, and customs, is always a complex task. But lately, perhaps because we have gained some distance from the school, we have been falling in love again with this body that searches, breaks down, and desperately tries to join other bodies, over and over again, through the centuries.

With our first piece, we were looking for mothers, fathers, and referents, in the Sinsombrero, the women of the Generation of '27. With this second piece, which any artist fears, we continue looking for answers a little further away. Is it possible to speak beyond time? Are we capable, at this moment, of simply listening? Is it possible to imagine the dance of the future? Val del Omar used to say that you have to enter the night to be illuminated by fire. For us, folklore is the night of this project: an immense, mysterious and often confusing place, widened by legends, rites, festivals and dances that we have created around it throughout history.

We will never fully know how it was danced, and perhaps we no longer care. And perhaps we no longer care. Is it possible that two centuries ago people sang to rockets that had not yet been invented? Can a tattoo remain on the body for more than three thousand years? Tonight at least it does. And, who knows, if Sappho was right, maybe this will also be folklore for someone when we are no longer here. Let us believe it will. Anyway, we will never know; neither will you. For that very reason, let us dance on this dance ground until dawn. Let us exist fiercely or at least tenderly, humbly and desperately.

By the company

Mucha Muchacha

Ana Botía, Marta Mármol, Belén Martí Lluch and Marina de Remedios are Mucha Muchacha. As a young company that was born from Spanish dancing, they feel the urge to work from a contemporary perspective, constantly in dialogue with the current framework of living arts, making them part of their perspective and their language, looking for a close relationship with the audience and pushing the borders of scenic innovation.


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