the outstanding manager, French choreographer and dancer Renaud Semper, specialist in colonialism issues, racism and visibility of bodies in dance, will present his show “Dejávu (tinku/baroque)” in the City of Buenos Aires and in La Plata.

Semper will have different presentations in our country, starting the 12 October from 18 hours in the Casa de Ricardo Rojas Museum. The appointment will be repeated 14 of the same month in the enclosure located on Charcas 2837. Both functions will be held with free admission..

Also with free admission and free will be the presentation of the 15 October at the Museum of Natural Sciences of La Plata, from 16 hours. Finally, Semper will have a performance at the Alliance Française Library on Monday 24m from 19.

In this last presentation, tickets will cost one thousand pesos and can be purchased through Alternativa Teatral or at the venue located on Avenida Córdoba. 946.

"I'm doing it (tinku/baroque)” features the participation of two dancers from very different origins. About the 12 October and the month of cultural diversity Semper gathers in unconventional scenic spaces (usually in museums or libraries, among others) to the dancer Oscar López of Aymara origin (Peace, Bolivia) and Teresita Campana (Argentine choreographer specializing in Latin American baroque dances).

In his new work Semper presents a work that revolves around two concerns: identity and origin in works designed in unconventional representation spaces.

Within that context, raises different questions such as what happens when we confront both worldviews? Or what happens when we try to appropriate the choreographic language of the other?

in his own words, the artist indicates that he believes that in this work “there is no time, There's no space. landscapes appear and disappear, certain recognizable figures” and in turn adds: “Santiago Roldán's atmospheric musical creation plays with time and its plasticity to achieve this strange feeling of « déjà vu » (in fact, a french word)”.

In “deja vu” (tinku/baroque)” Semper wanted to “avoid any binary narrative in which one dance dominates the other, opening up other interpretive possibilities to the viewer”, ends.