This is the story of a dance.
A dance that has been haunting me.
A dance that was hidden,
resisting totalitarianism and the values of a not-so-ancient past.
A dance that my grandmother used to dance.
And her friends.
It was danced in their courtyards and the threshing grounds.
Until it was no more.
A dance that ignited a desire. A bonfire.
What’s left of this dance?
How did we get here?

Between performative lecture and documentary dance, Volvamos al baile investigates the forms of domination exerted over women’s bodies during the Francoist dictatorship through dance and gymnastics. The piece seeks to reconstruct a new narrative through the body, the archive, memory, and intimacy.

“This project arises in response to two situations I encountered in previous works. The first is a personal desire. Fandango Reloaded, my first group piece, became a poetic act of rewriting an archive. Its political context and, especially, the experience of censorship were present in the program notes, in the dossier, and in our dancing bodies. Yet, in today’s political climate, I feel the need to tell this story more explicitly, as it truly is.

The second has to do with sustainability. The idea of creating a solo thus emerged not only as a practical response, but as a creative opportunity. Making the piece smaller allows me to approach this memory from an intimate and exposed place, to face its fragility and my own body as its vessel. It also opens a sustainable way of keeping this story alive and moving, adapting to different spaces and contexts while remaining faithful to its essence: a dance between vulnerability, resistance, and remembrance.”

Inka Romaní