WITH Juan Carlos Lérida
The work of distortion as a way of tuning the form is now the starting point for the choreographer and dancer Juan Carlos Lérida.

Lérida will transform himself through a dance and music solo, creating characters, modifying the perception and emotion of his body, crossing genres and species.

Idea: Geophysicist Andy Hindebrand designed a sound system that served as a detection tool, sending sound waves to the ground where there could be oil, in the manner of a radar. Later, he adapted it to a tool that real-time auto-corrected the tone of a voice audio, calling it auto-tune. Hindebrand captured both the Earth’s vibration and the voice that made us extraterrestrial. This dance solo addresses the idea of tuning through distortion as a way to show the faithfulness of imperfection. Juan Carlos Lérida says: “First, I was in search of the ordinary in flamenco bodies. Later, I delved into the ordinary bodies of flamenco. Now, I detonate what I found and trace the extraordinary. CHER will not only alter my form but also deform my reality.”

Interest and impulse for this project: My initial interest in this work is to place my body ― during the creation process ― under external direction and choreography in order to relocate it to another place and state than those to which I have habitually proposed it. Also, regarding the image I have projected onto others (audience, programmers, media) in order to generate a paradigm shift about myself as an artist. Not only due to the change that age and time within the profession entail, but also to deploy other qualities and skills that I now, with maturity, allow myself to explore and share. Therefore, I am propelled by an initial idea that arises from auto-tune, a technological tool that revolutionized music in the nineties and questioned the ethical limits of the music profession. Simultaneously, during that decade, the world of culture, politics, and society underwent radical paradigm shifts. It is a decade that saw the end of the Cold War, the birth of the Internet, and the first cloning of an animal. Therefore, I embrace the nineties as a moment of distortion of reality, of distorted tuning of life, a bridge to the twenty-first century where bionic bodies, multiple genres, and an end of the world that allows for embracing new lives expanded and continue to expand. Do you believe in life after love?


Juan Carlos Lérida

Ballet dancer, Choreographer, and Pedagogue. Holds a Higher Degree in Choreography and Performance. Awarded the Extraordinary Prize by the Institut del Teatre in 2007. He is a Professor of Flamenco, Contemporary Dance, and Composition at the Institut del Teatre, as well as in other locations across Europe and the United States. Currently, he serves as the curator of the Tanzhaus Flamenco Festival and coordinates the research laboratory on Flamenco at the Institut del Teatre. His piece The Art of War premiered in 2016 at the Berlin Flamenco Festival. In 2011, he premiered his piece El Aprendizaje at the Mercat de les Flors, directed by Roberto Romei. In 2011, he initiated his trilogy with Al Toque (Austria), Al Cante (Düsseldorf, 2014), and Al Baile (Barcelona, 2016). The year 2014 marked the beginning of his collaboration with El Niño de Elche in vocals and Raúl Cantizano on guitar with the piece ToCaBa, premiered in Paris. In 2021, he premiered La Liturgia de las Horas in Barcelona (Barcelona Critics' Award 2022 for Best Dance Work and Best Dancer). He directs and choreographs various dance works for Belén Maya, Olga Pericet, Marco Flores, among others. In 2022 he published the book El método flamenco empírico edited by the Diputació de Barcelona.