Bitef

genitals, in that sheet of muscle. And with that punch you move, fast, urgent, desperate for time. The music is such an unconscious part of my being that I am never certain whether it is I who choose the music or the music which chooses me. The passages of Tchaikovsky's Swan Lake, especially those of acts two and four, have been in my bones for so long that I simply know that when doing a dance so closely related to my own experiences it would be criminal to even attempt to escape its summons. I have heard the call of this music not because of the narrative implied in it but because, for me, this music is almost a wafting perfume and I like my work to be punctuated by these Lingering aromas. At the same time I ponder my idea of paradise an consider its universal qualities. To me it is the distant echos of Hawaiian music in the soundtrack for The Hypochondriac Bird. I know that it asks more than it answers but I also know that somewhere along the line all of this makes sense and the haunting notes have earned their place. Defining and creating the world where this work will dwell is never just adhering to a formula but rather there must be a constant process of mapping and remapping with the designers (both lighting and set) until the work crystallises. As we continue to work, an image recurs and parts of it stick while others peel away. There is a vague whiteness of floor and gauze, stark in its simplicity, all facets and surfaces. There is a space obscured, one of transition and one of containment which must be entered and wxited. All of these features are negotiable, some remain, working under the skin of the piece, others are stripped away, their adornment unnecessary. It leaves only the essential. The work seeks to frame that aspect of life which instigates both mystery and honesty and create a world where they strangely seems at home together. It is the walk doen the street that challenges the nostrils, the ears, the feet, the mouth, the hands, the eyes, the tongue the throat, the chest and yet comes unquestionably together as one thought, one sensation, one mind. The springboard that sends us reeling off on a journey of discovery.

Javier De Frutos ( Choreographer , Dancer) Javier De Frutos started his training in Caracas, Venezuela. Fie moved to London studying at the London School of Contemporary Dance and then to New York where he trained at the Merce Cunningham School, and with Barbara Mahler and Sara Rudner, later performing with Laura Dean Dancers and Musicians. Whilst in America Javier started to develop his own work, especially in the solo field and was choreographer in residence at Movement Research in New York. In 1992 Javier moved to Spain where he became a founding, member of La Porta, a platform for independent choreographers in Barcelona and performed with Lanonima Imperial. In 1994 Javier was invited to become European Choreographer in Residence at Chisenhale Dance Space in London during which he choreographed Dialogue Between Flemispheres. Javier's solo work also includes; The Palace Does Not Forgive (1994) set to Stravinsky's the Rite of Spring; Gota A Gota (1994) commissioned by the Ministry of External Affairs as part of the Sao Paulo Biennial; Frasquita (1994) a site specific project commissioned by the South Bank Centre; Sweetie J (1995); Meeting J (1995) Out of J (1996); Carnal glory (1996) commissioned by the Centre Georges Pompidou in Paris as part of the Feminine/Masculine exhibition and Transatlantic (1996) Javier De Frutos has received commissions from: Ricochet Dance Company for whom he choreographed E Muoio Disperato... (1995), which has been restaged for Ballet Schindowski (1997), and All visitors bring happiness, some by coming, some by going (1997) to Stravinsky's Les Noces; Duties (1996) for the National Youth Dance Company and the South Bank Centre for a site specific project working with older people. La Mer (1996). In 1995 Javier De Frutos was the recipient of the Paul