Wolfe & Libertad 

Creation process


Laisvie (in Lithuanian Laisvie means liberty and the translation into Spanish is Libertad) Ochoa (in Basque Ochoa means The Wolf)


 The name of Wolfe and Libertad address to my own name. The wolf works as a trope for some aspects of my female identity that I want to highlight


*Trope: an artful deviation from the ordinary or principal signification of a word. Trope is a category of figures of speech that includes metaphor, simile, synecdoche, metonymy and personification.


I am interested in finding relations between dance and video projection in terms of presence.  A state of presence experienced by a live dancer connecting to the imago presence that characterizes video projection. I want to do this by stressing the following concepts:





+ Deconstruct my previous works WolFloW, Godzilla and Becoming into a solo work that addresses to my personal understanding of the concept Wild. 


+  Create a meaningful relationship between a digital and a live presence.  This will be done by using the skin as a projection surface. Also, the live presence can give voice to the digital one (virtual puppetry)



Deconstruct: look from the opposite perspective. The devil's advocate strategy.  


The body as a shared territory for movement and image.




  • The mask in different parts of the body creating a wolf-woman creature with 2 heads.

  • Framing with circles // the moon (white, yellow, red), still & in motion. THIS GOES OUT FOR THE MOMENT (Jan 29th 2018)

  • Sing language trio of La Loba.  

  • We are one speech. Young girls voices. 

  • The 3 generation speech. 

  • The dramaturgy of the paper



Wolfe: a digital character that is always presented as a video projection. (the dancer wearing the white wolf mask and dressed also in white) .


Libertad: a live character. (the dancer with the possibility of offering as much skin as possible, maybe never showing the face? maybe naked? maybe wearing something red? Red would be a reference to the Litlle Red Riding Hood )  




What is the situation? Is there a  conflict I present?

What the Wolf stands for? = the wild aspect of women, which means what is there even though it hasn't been cultivated. 

How I change by wearing the mask?

Can only the projection come with stillness? 





This is a youtube playlist that I called My Women. It includes the artists that I was listening and watching when I was a teenager. In my transition from being a young girl into the woman I am now, these singers played an important role in my gender identification process. Their music and the way the looked in their videos are part of my identity as a woman and I'm using this playlist to find new ideas when I feel blocked. 





  • The moon (white circle) projected and moving. 2. Libertad following the light, trying to stay inside the circle all the time.  Dance with the wall to fin strange positions where the body looks un ensemble. When Libertad arrives, the projection on the body of Wolfe starts.

  • 1. A wide video of a wolf running free and there are flashes of the moon that shows the woman live laughing. //  A wide video of the elegant wolf dancing (maybe the sing language sequence) and some flashes of the live naked woman framed by the moon jumping. To do: video of Wolfie doing the sing language sequence. Learn the 3 roles, record them and assemble the trio in the video, playing with juxtaposition. This ends with Libertad inside the moon. Then the moon travels and she follows it in order to be inside. At the end of this the circle starts to become smaller and smaller  

  • About the dramaturgy: like Wild the movie, start from rationalisations to wilderness in the speech. From complaining or analysing to poetry and sound. From the elegant wolf to the naked woman.  

  • The wolf singing / singing / lip sync  Glory Box by Portishead La Loba. Libertad singing the song (or giving the speech) giving the back to the audience and Wolfie projected on her back doing the phono mimic or doing the sings, a solo version of the sings. Or doing the puppet sequence and this is recorded without showing the face of the woman.   


  • Half / half. It could be also horizontally, playing with the body. Like the centauro but head of Wolfe, body of Libertad. ???// This is done on stage by having in one half Wolfe in video, and on the other half, Libertad live. We do the same choreography. This could be the speech, playing as well with many voices. Image of having a duality inside. Red and white. Red in one side and white in the other. Record many different kind of images to put together in contrast. The content of the images in contradictory buy the shape complements. EXTIMO. Libertad standing with the circle projected on her face. This could be a transition or the end. To show that the 2 characters are actually one.   ​













  • Wolfe with the red cloth in her heart. then this goes around her body until it becomes Libertad // Libertad with the withe dot moving around her body until it becomes Wolfe. This can come after the image of Libertad inside the Moon.  

  • Do a version of the speech mixing English and Spanish. 

  • The mask (or Wolfe) projected on the phase of the woman. The woman speaks live which is a way of making a virtual puppet. Give voice to the projected character. 



JANUARY 11 2016


  • Libertad follows the moon.

  • Then the moon becomes small and transforms in the wolf running in her back.

  • Then this wolf becomes the elegant one in a sequence in her body. (The body as a canvas for the wolf to transform in the character with the mask)

  • Then the character grows and takes all the stage dancing in full frame. Some flashes of the real woman happen and she is laughing. Music cues.

  • Then a combination of virtual al real dance. TO FIND

  • Then the end with the half and half. This is the speech of the girls. 

I worked in the moon scene using the song Glory Box from Portishead as an inspiration.  The biggest challenge was how to do the video projection in real time and dance at the same time. I found a way to "record" on Modul 8 a sequence of mapping that plays after. The thing is that I can not export this... so I would have to do the mapping first and then 

I need to do a playlist!!!

JANUARY 16 2019.

Today was difficult to start moving. At the beginning of the rehearsal, I was looking for free music inspired in Portishead song because I want to change the Portishead song. It is a long process to find the right artist… I really like the song and it has a lot of meaning for me. After I worked in the moon scene. I tried a new order but the one I had last rehearsal was much better. This is the order:


  • Baby position. take out the right hand and pull towards it.

  • Pass over the neck 

  • Go to the headstand.

  • Running legs and one leg goes down

  • Coming back from the headstand

  • The light opens and I move bigger in the space.

  • I do the ball position  

  • Go back to the wall and the light goes out and I play with hands

  • The light comes back to my back.

  • The light transforms into the running wolf.

  • I do pose with flashes of the big circle

  • I go back to the bay position and the wolf in projected there. 


To solve:

How to record the moon movement and keep it! in Modul8


Video of the experimentation of the moon scene.

January 17. 2019

Today I showed Jordy the video of the moon scene and he really liked it. He suggests changing the music for something without lyrics and more abstract to erase the sexy aspect it could have. 

While seeing it, I think its very interesting when the circle is small and the eye is being focused on specific body parts. I didn’t like to see the whole body. Maybe only at the end of the poses, which are nice.  But definitely, the sexy aspect of it needs to go.  


January 23. 2019

The whole moon scene is going out. I spoke with Rossana and it was clear to me that this scene is really far from I am doing...



January 29 2019


I had very interesting feedback from Arno Ferrera, a circus artist that knows about mask work. I sent him the video of Ewa putting the mask in different body parts and this is what he replayed:


Hi Laisvie,

thank you a lot for sharing this with me.

Here some notes I took about what I saw.


What I like or I find interesting: 

First of all, I personally like the moment around +/- 1 minute, where the wolf is walking front, but the dancer is twisted. It's an interesting situation that could be developed.


What could help:

At the beginning of the video, it could be good to change a bit the leg position, in order to have a larger / more grounded position. Let's simplify saying: heavier pelvis = deeper activation of the mask.


Some practical thoughts about the mask: 

Since the mask is light and it looks a bit fragile, also the body looks fragile like if it was made out of paper. What about putting several extra layers of paper and glue INSIDE the mask in order to add some extra weight? It might help the dancer to feel the mask in a stronger way.


Personal approach:

In order to wear a mask of an animal (in this case a wolf) and perform with it, we need to change something in our body and our mind. Otherwise, the risk is that as spectators we just see a person hidden by a mask. 


Little questions for you:

What is this mask telling us?

What the wolf represents for you?


I send you a big hug, and I wish you a great day.





For a long time, I was avoiding to answer the question of what the wolf represented for me because it meant to constrain in cohering words something that I needed to keep vague, vailed and blurry. This was something intuitive and I managed to avoid the questions in order to keep on working. Finally, the time has come for me to write about the meaning of the wolf. Why now? because I went back to read about listening in psychoanalysis as part of a practical exercise we did in the master. I did the following text combining the first things I found online when looking for the psychoanalysis listening:


Listening in Psychoanalysis refers to the process that attends to unconscious meanings, the subjective truth. But for Lacan, it is not even to listen with a third ear, but listening as a process of not understanding. Is it not the truth of the voice to be hallucinated? What language and the body have in common is the voice but the voice is part neither of language nor of the body.

I realise then, that the wolf is a way to address my wild side from this type of listening. Therefore, the wolf is not a mear representation of my wild side but a way to connect to my unconscious and let free association come to what psychoanalysis calls, the subjective truth. The subjective truth is always between lines, never in the well-prepared speech. The wolf is the way of making sense, a way to understand from the miss-understanding.


Wolf = Wild = Unconscious = the subjective truth = Wisdom // Wolf = Wisdom


It is a white, tender wolf. It is ready to bite, but she prefers to lick. She remains calm when I'm going crazy. She is the one that heels my wounds.  

Is this somehow a deconstruction of Litle Red Riding Hood? is this relevant for me to address?

Therefore, I come back to the word WILD but form my own subjective perspective. 


For example, wild is also cruel, crazy but I am not addressing that meaning. I am more interested in the definition of a situation that is not controlled or dominated. In WolFloW I was following this kind of situation, creating movement materials and scenes not dominated by a premeditated idea. I like to create and then see what is it that I created. For example, the scene of the Burial (unfolding the paper very carefully while singing) was discarded but I really want to come back to it because it was a true finding of the research. 





Del cat. y occit. salvatge.

1. adj. Dicho de una planta: Que ha crecido sin ser cultivada. Hiedra salvaje.

2. adj. Dicho de un animal: No domesticado.

3. adj. Dicho de un animal: feroz.

4. adj. Dicho de un terreno: Montañoso, áspero y no cultivado.

5. adj. Primitivo o no civilizado. Apl. a pers., u. t. c. s.

6. adj. Falto de educación o ajeno a las normas sociales. U. t. c. s.

7. adj. coloq. Cruel o inhumano. Le impusieron un castigo salvaje.

8. adj. coloq. Dicho de una actitud o de una situación: Que no está controlada o dominada.





1. (of an animal or plant) living or growing in the natural environment; not domesticated or cultivated.
2. (of a place or region) uninhabited, uncultivated, or inhospitable.
3. (of sea or the weather) rough and stormy.
4. (of people) not civilized; primitive.‘the wild tribes from the north’
5. (of a look, appearance, etc.) indicating distraction or strong emotion.
6. Lacking discipline or restraint. Grow or develop without restraint or discipline.
7. informal Very enthusiastic or excited.
8. informal Very angry.
9. Not based on sound reasoning or probability.
10 (of a playing card) deemed to have any value, suit, colour, or other property in a game at the discretion of the player holding it.


Old English wilde, of Germanic origin; related to Dutch and German wild.



Coming back to the mask scene, I like the fact that a new animal is created. A wolf-woman appears. The wolf and the woman share the same body. So the mask is telling us that there are other creatures sharing our body. But I agree with Arno that this new creature needs to have its own personality, there must be a change in me when I am wearing the mask, as he suggested. I will try to enter this state of listening to not understand.


As matter of fact, I am coming back not only to the mask and to the bury scene, but to the whole dramaturgy of the paper This is a true discovery from the process of WolFloW. I am calling it a true discovery because it was not a materialization of a pre-conceived idea but rather a construction made from a listening state of not-understanding. I am looking for serendipities and I got distracted. I came to the studio only with the intention of respecting the material and treat it as another dancer and it really took agency because it demanded to be transformed, to be in the centre of the creation.  Al final, realmente cambiamos de rol, nosotras no estabamos manipulando el papel, el papel nos estaba diciendo para donde ir. Mi sensacion es que adquirio vida propia y demando ser el protagonista. Solito nos dijo como transformalo. Escuchandolo nos dijo como transformarlo y como queria estar en el escenario. 


This is also, coming back to the notion of having the practice leading the research. I was lost for a period but now I come back to my principles. 


The big origami figure is an atom of the mask.

My research surrounds the concept wild, especifically, my subjective notion of it. I am addressing to my wild side by re-purposing some methods from psychoanalysis such as listening and free association as choreographic methods. Therefore, it is not a way of healing it is a way of understanding through not-understanding. 


Those elements on the periphery are actually the research, not the ones in the centre. The paper is one of those elements that became so strong that took over.  




  1. The paper starts folded into a big origami figure that is abstract but with a linear shape.

  2. The figure is unfolded by doing a thoughtful action and becomes three big sheets of paper. This action is supported by singing live.

  3. These three sheets are crumbled using the whole body. This action is done during a long fade out of the light to highlight its aural aspect.

  4. When the light comes back, the three sheets are crumbled together creating a new paper figure.

  5. A backwards three is created by projecting leaves on the rock and doing a headstand behind. 

  6. The three crumbled sheets get separated and hang.

  7. The paper is torn into small pieces. 

The paper starts folded into a big origami figure that is abstract but with a linear shape.


These three sheets are crumbled using the whole body. This action is done during a long fade out of the light to highlight its aural aspect.


A backwards three is created by projecting leaves on the rock and doing a headstand behind. 

The tree

The paper is torn into small pieces.

The rain

The figure is unfolded by doing a thoughtful action and becomes three big sheets of paper. This action is supported by singing live.

The buring

When the light comes back, the three sheets are crumbled together creating a new paper figure.

The rock

The three crumbled sheets get separated and hang.  

The clouds

Feb 04. 2019

I explored with the mask sequence. I learn the one did by Ewa but I did my own adaptation. I also discover a new option, that is having the mask on the floor. Also, I realized that if this is going to be done in video, there is no need in creating the transitions. I cut the video in small parts so I can try doing the unfolding with this projection. 

Feb 20. 2019


I meet with Karin Deddens who is an opera singer and also a student of CODARTS. We meet because she is taking my class at DCU and she approached me because she wants some help with her final performance. She is singing and dancing so she was looking for coaching in terms of dance. I propose her to do an exchange, so she could also coach me with the use of the voice for my piece. 


We started with a short physical warm up and after she showed me one song that she is working on. We discover the principle of the circular movement which will be a lei motive. Also, we work a bit in her walking because she does it very slowly at some point.  


After a break, I showed her the 2 speeches I have been working on. She taught me some technical exercises to warm up the voice:

  1. Metronome breathe. 60 counts per minute. Start from 3. Inhale 3 counts, expand 3 counts, exhale in 3 counts. Next time do it in 4 counts, 5 counts, etc. Today we did it until 10 counts. 

  2. Open and close all the facial muscles. We included the whole body with this.   

  3. Lip tril. Prrrrrr. Relax the jaw 


After I read the We are One speech and she gave me these notes:


  • Pitch. Work o being more nasal. Higher pitch. Better focus.

  • This will help with the intention. Clarity of the words. 

  • Memorise the speech to work on it.

  • Listen to Martin L King and how she is lifting the sound at the end of each sentence. 

  • Check the pattern I am using so it is not linear. Poetic meter. Sonnets. 

  • Focus on the vowels. The consonants are there to support the vowels. 


The task is to record me and listen. 

After doing the task I did a composition to see how it could work with 3 different voices done by the same person. One of these voices is done live and the other 2 a pre-recorded.

WE ARE ONE V.3 2019


Six minutes, and about 20 seconds. (NEUTRAL)

I am only a child, but yet I know (NEUTRAL)

I am fighting for my future. (WHISPER)

But you don’t know (ANGRY)

In my anger, I'm not blind; and in my fear, I'm not afraid (TEMPO, slow)

You don’t know

I’m only a child, yet I know we are all in this together, together (NEUTRAL)


So I’m thankful to my father for not clipping my wings, (WARM)

For showing to the world that a girl is not supposed to be a slave.

 She’s not only a mother, a sister, a wife. A housewife, a mistress, a princess. (RHYTHM) 

Also, she can become a hacker, a ray, a rock, a rockstar, a star, (CRESCENDO <)

held together by its own gravity.


I feel more powerful and more contagious, courageous


And we are standing together, together

I´m happy. 


So this is really, this is really something, something great for me. 

In my anger, I'm not blind; and in my fear, I'm not afraid


Would never (X 12 times)



I´m happy.

I´m not happy.




But this is not the end. It is not the time to pity them, us, me, you. 


I do not wait for someone else. 

Not for a blue prince, I will not wait,

I jumped from the tower and I escaped, would never.

I took the toads out of my stomach, would never.

I'm the beast they fell in love with, would never.

I tricked the wolf and I ate it,

And I liked it.

And certainly I didn't sleep for 100 years,


En ese momento, necesitaba alzar la voz.



to tell you, adults, you must change your ways.

Because I am only a child but yet I know.  

We are one speech (3. 01)


+ Only play with sound

+ Do 2 videos of the speech. Each of them with a different intonation. Create a composition with these videos and a third voice (presence) live. Maybe come back to the frames? or the circles?

Would this be a new scene or it can happen inside another? What is the relation with the paper in this scene?

+ Explore again projecting on the clouds


+ Folding the paper. White or black background?

+Project leaves on the rock to see how it works. Use animated leaves?

+ Record the sequence of the mask to see how to make the background disappear. Or leave a white circle around it?

Feb 26 2019

I did an animation of paper leaves to create the tree. I thought it was better to use leaves of paper created by me instead of a video of real leaves. I found a very simple way of doing paper leaves on Youtube and after, I took a picture of every step to create an animation. I first did the animation of Photoshop and exported as GIF.

GIF Paper leaves tree

Feb 28 2019



I worked with Anderson, who helped me to fold Ernesto first and then to clarify the steps of unfolding the paper by one person. This means that there are 8 moments where stillness can happen. So I can record 8 moments of the mask.​




Also, I worked on the projection of the leaves on the paper. I have a small rock done by one sheet of paper and I was trying to see how the mapping can work. First I tried to use the GIF but Modul8 does not read these kinds of files, so I exported every picture, without background, to Premiere and did a movie there. As an experiment of mapping, I did a mask of the little rock and put that mask on Premier in the top of the leaves. I fixed the video so it works with the mask and I exported it as a PNG video using these settings:




You can export a file from Premiere Pro that includes an alpha channel (transparency).

In the case of FLV files, including the alpha channel just requires making sure that the Encode Alpha Channel box is checked.

QuickTime, AVI, and some other formats require you to specify the inclusion of an alpha channel from a color depth or channels menu. In some cases, a plus sign (as in Millions Of Colors+) denotes an alpha channel. In other cases, choosing to output to 32 bits per pixel implies the inclusion of the alpha channel; this refers to an output depth of 8 bits per channel for each of four channels: RGBA (where A is for alpha).

For general information about exporting, see “Workflow and overview for exporting”.

Export an FLV file with an alpha channel

  1. Select the sequence.

  2. Choose File > Export > Media.

  3. In the Export Settings dialog box, choose FLV|F4V from the Format menu.

  4. Choose an FLV preset from the Preset menu.

  5. On the Video tab, select Encode Alpha Channel.

  6. Set other settings and click Export or Queue to export as you normally would.

Export an AVI or QuickTime file with an alpha channel

  1. Select the sequence.

  2. Choose File > Export > Media.

  3. In the Export Settings dialog box, choose Microsoft AVI or QuickTime from the Format menu.

  4. On the Video tab, choose PNG, None, or Animation (Choose 8bpc + alpha in Depth) from the Video Codec menu, and choose 32 from the Depth menu.

  5. Set other settings and click Export or Queue to export as you normally would.



This is how it looks:


Photos of the tree. Experimentation phase.

But still I have to solve this problem of mapping the tree because the shape of the paper changes every performance, it depends on how the dancer does it every time and its impossible to do it the same. So I have to find a way to map that shape very quickly or find another solution. These are the options I see:


  • To have a rock already made before the performance and in the dark moment, take out the sheets and put in the rock. This requires complete darkness! also to have light towards the audience and someone helping from the wing. Also, this implies a little shadow as it looks in the picture, or work a lot in making a perfect mask. But actually, the shadow looks nice because it resembles the shape of the paper. 

  • To continue experimenting with the video, so the edges are irregular and the projection can work in any type of shape.



Looking for solutions and ideas to solve this problem I was looking at the webpage of MadMapper and I discover this artist that creates installations combining real objects and projection:





After this, I experimented with combining the 3 generation speech and the tree. It's working a lot! I have to tell Alice to start practising her headstand. 

One decision to make is whether do all the speech live or to have half of it pre-recorded when the dancer is doing the headstand. 



Three generations speech V3:

At the age of 10, I was going to ballet school, 

At the age of 10, my mother was working at the family bakery 

At the age of 10, my grandmother was working in a potato field


At the age of 3, I thought snowflakes were mosquitos biting my face

At the age of 3, my mother was sent to a boarding school run by nuns 

At the age of 3, my grandmother rode in a car for the first time 


At the age of 5, I got scared when I saw Tom and Jerry

At the age of 5, my mother was watching the only channel broadcasted on television

At the age of 5, my grandmother was listening to stories on the radio


At the age of 35, I will be finishing my second master

At the age of 35, my mother got divorced 

At the age of 35, my grandmother had already 10 children


At the age of 12, I was suffering the change of school and city

At the age of 12, my mother was suffering the death of her mother  

At the age of 12, my grandmother was suffering the second world war


At the age of 21, my grandmother was afraid to walk alone in the street at night 

At the age of 21, my mother was afraid to walk alone in the street at night 

At the age of 21, I am afraid to walk alone in the street at night


At the age of 14, I was hanging out, parting hard and getting drunk with friends

At the age of 14, my mother was wearing her first miniskirt, driving everyone in her village crazy

At the age of 14, my grandmother was forced to marry 

At the age of 23, I’m here standing in front of you, I'm a freelancer, I know how to dance salsa and I never iron my clothes


At the age of 56, my grandmother was not allowed to speak in a conference

At the age of 56, my mother received an award for the book she wrote

At the age of 56 I…

At the age of 23, my mother had an abortion, an illegal abortion  

At the age of 23, my grandmother saw the ocean for the first time


At the age of 23, my great grandmother was not allowed to vote


At the age of 27, my mother had strong opinions

At the age of 27, my grandmother had strong opinions

At the age of 27, I have strong opinions

Video of the tree 3 scene. Version No 1.






The piece starts with a black out. The first thing we see is an animation of the paper getting folded. This could be projected or in the body of the dancer or in the paper itself. ?? If its on the body of the dancer, as soon as the animation is finished, a light comes to the real origami figure on stage.

Then, the dancer takes a long look at the audience, connects to the present and starts the ggrrrrrr. The projection on her body reacts to the sound she is doing. In which body part is this projection? heart, belly? it could be that starts on the back and then she turns and the projection is on her heart. 

  • not clear. It could be the nature landscape from before.

  • Project the GIFS to see how it looks like. It looks good! I need to do this animation.

  • Define the custom of the dancer. If she is wearing red, a white projection works? what about if she is wearing white, with a white projection? 

  • Animation of folding the paper

The dancer unfolds the paper in a very clear manner. In every stop, the projection of the mask sequence comes into her body. 



An alabao transformed

  • Determine how many natural stops are in the unfolding. 

  • Experiment with projecting the ones I have.

  • Do the exact amount of creatures with the mask. 

  • Record this in darkness. 

  • Edit every part. 

  • Short videos of the mask sequence.

When she finishes unfolding the paper, she lays in one of the sheets and starts rocking gently. This progress into a bigger moment at the same time a long fade out happens.

In darkness, she really crushes the paper given all the focus to the sound.

  • Sound live of the paper

  • Experiment with length and ways of crushing the paper

  • None

When the light comes back in, the paper creates the rock and the dancer is behind. The 3 generations speech starts (pre-recorded the first part) and she starts raising her legs behind the paper at the same time the animation of the paper leaves and tree is projected on the paper. 

In the middle of the speech, the dancer goes out and finishes the speech live. She ends with a high energy on her body. 

  • Pre-recorded 3 generations speech until the middle. 

  • Some soft sounds of trees and ocean comes in.

  • Create the sequence with the legs as roots in a headstand. Try to project roots on the legs. Solve the problem of doing a mask of the paper rock in real time??? or use a pre-done rock…

  • Maybe another projection is needed, the circular one… the sunset? the ocean? 

  • Paper tree animation

  • Paper ocean animation

La loba sequence. The 3 generations speech transforms into La Loba senquence. The dancer makes a first movement sequence. When she finishes, this appears projected and she does a second sequence in relation to that. A second video happens and then she does the third part having 2 projected dance partners. Or keep on using the body as a landscape for this trio. 

  • Sound composition with some words form the tale mixed with nature and city elements.

  • Learn the other 2 parts

  • Record them in darkness ones with the mask an other time without the mask.

  • Rehears with the video projection and the adding. 

  • Determine where is this going to be projected if on the paper or on the wall. 

  • The videos are pre-recorded or recorded live? solve this with an engineer… PRE RECORDED

  • pre-recorded. La loba sequence roles of each dancer

We are one speech.


2 imago characters and one live. doing the same speech.


Option 1. Use square frames

Option 2. The projection of the face is on the clouds and the dancer stand behind the clouds or uses the microphone to give voice to the other characters.

  • We are One Speech red and green pre-recorded. Black done live

  • Explore with editing different videos. Frames.

  • Record the speech 2 different times 1. soft 2. angry. 

  • Explore what looks good projected on the clouds. Face, hands, zooms.   

  • We are One Speech red and green pre-recorded

The dancers lyes under the clouds and a  projection of paper rain appears on her body.

  • Sound of rain made with voice

  • Record the paper rain

  • Record the voice rain

  • Experiment with the mask for the body laying

  • Video of paper rain

March 6 2019

I had another session with Karin, the singer. She shared with me this warm-up structure for the voice:


Warm Up Exercises:

1.     Metronome breathe. 60 counts per minute. Start from 3. Inhale 3 counts, expand 3 counts, exhale in 3 counts. Next time do it in 4 counts, 5 counts, etc. Today we did it until 10 counts. 

2.     Facial muscle stretch - Open and close all the facial muscles. We included the whole body with this.   

3.     Lip trill. Relax the jaw

4.     Ah Eh Ee Aw Oo – first speaking, then singing

5.     Pitch Association

6.     Listening to the space

a.     Training ear to listen outside of your head while you are singing

                                               i.     Use snap

                                              ii.     Use covering of ears

7.     Listening to the space

a.     In the room

b.     Outside the room

c.     In your body

8.     Listening to other bodies


Also, we worked on clarifying in detail the intentions of the We are One Speech. We are composing that text like a song, with clear use of tone, peach and tempo for each phrase.  


I think that this scene is becoming more clear. I see it also as a dialogue between the present dancer and some pre-recorded footage of her and her voice. This scene is the opportunity to work on the framing idea that I have for so long. Both, in the video and live, I can play with different frames. The dancer will appear sometimes live, sometimes on the video. As a test, I´m going to record myself saying the texts with the different intonations and do a simple edition leaving empty frames.  


Karin also gave me more inspirations:


Sarah Bernhardt, a famous French actress of the Belle Epoque:



To speak in rhythm without a beat underneath, J.Cole-She's Mine Pt. 2:





March 2019

Work with Niels to create a mask live for the tree and for the dancer laying at the beginning and end of the piece.


During the last period, I have been collaborating with a computer science engineer to solve a technical problem I was facing. This led us to develop a motion tracking system using an infrared camera and programming on the software Processing. This artistic finding is going to change the way I was understanding and write about my practice.  

March 27 2019


The dance of my fingers on the computers is part of the choreography.

Project my fingers controlling the video. This is the duet. Close circuit with an extra projector and an extra camera or one layer of Modul 8 and the GoPro?. 




Session 0. April 6. / 10-17h / Utrecht / (only Laisvie to finish the animations of the folding paper and the tree)


Recording session 1.  April 11 / 17-20h / Codarts /  (to be confirmed) 


Recording session 2   (to be confirmed) 


April 14 / 10-17h / Utrecht / (Artistic coach visit)


April 20. / 09-15h / Utrecht /


Sharing May 1 /Preparation 13.15-14.45h / Sharing 15.00-16.30 h / Fontys /


May 19 / 10-17h / Utrecht / 


May 26. / 10-17h / Utrecht /


 June 1. /10-17h / Utrecht? / (Place to be confirmed)



General Rehearsal June 22 /10-17h  / (Place to be confirmed)


1 recording session to be confirmed.


Performance. The first week of July / Rotterdam





+ White elegant pants

+ Custume for stage 


To learn all the roles from: La Loba sequence 2018

To learn: La criatura

La Loba – The Wolf Woman

Clarissa Pinkola Estés, Women Who Run With The WolvesPp.26-28.


There is an old woman who lives in a hidden place that everyone knows but few have ever seen. As in the fairy tales of Eastern Europe, she seems to wait for lost or wandering people and seekers to come to her place.

They say she lives among the rotten granite slopes in Tarahumara Indian territory. They say she is buried outside Phoenix near a well. She is said to have been seen travelling south to Monte Alban in a burnt-out car with the back window shot out. She is said to stand by the highway near El Paso, or ride shotgun with truckers to Morelia, Mexico, or that she has been sighted walking to market above Oaxaca with strangely formed boughs of firewood on her back. She is called by many names: La Huesera, Bone Woman; La Trapera, The Gatherer; and La Loba, Wolf Woman. The superstitious call her soul stealer, claiming she weaves a dream catcher to snatch up those who would cross over and cage them in the light of her fire. The sole work of La Loba is the collecting of bones. She is known to collect and preserve especially that which is in danger of being lost to the world. Her cave is filled with the bones of all manner of desert creatures: the deer, the rattlesnake, the crow. But her speciality is said to be wolves.

She creeps and crawls and sifts through the montañas, mountains, and arroyos, dry river beds, looking for wolf bones, and when she has assembled an entire skeleton, when the last bone is in place and the beautiful white sculpture of the creature is laid out before her, she sits by the fire and thinks about what song she will sing.

And when she is sure, she stands over the criatura, raises her arms over it, and sings out. That is when the rib bones and leg bones of the wolf begin to flesh out and the creature becomes furred. La Loba sings some more, and more of the creature comes into being; its tail curls upward, shaggy and strong

And La Loba sings more and the wolf creature begins to breathe.

And still La Loba sings so deeply that the floor of the desert shakes, and as she sings, the wolf opens its eyes, leaps up, and runs away down the canyon.

Somewhere in its running, whether by the speed of its running, or by splashing its way into a river, or by way of a ray of sunlight or moonlight hitting it right in the side, the wolf is suddenly transformed into a laughing woman who runs free toward the horizon.

So it is said that if you wander the desert, and it is near sundown, and you are perhaps a little bit lost, and certainly tired, that you are lucky, for La Loba may take a liking to you and show you something, something of the Soul.


 *Record the highlighted words



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April 11 2019

Meeting with Liat

+ The old question. To be a woman is a question of nature or culture? My reserach is in the middle of this tension.

+After the rain a seed comes, a new life. A projection of the Sun? 

+ What are the female potency that I discover or locate?

+ What is the contribution to the paper to investigate the potency of women? 

+ The paper as culture and heritage. Is the paper, the system? the patriarchal system? 

+ La Loba story. Develop why the story. The force that can not be damaged. The wild nature that resides within us.  




Photo from the recording session

Music references

Music references. I´m running with the wolves

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