A picture of Angela Munoz performing, by Patrick Von Vlerken

Exótica - Amanda Piña (2023)

In early 20th century Europe, artists La Sarabia, Nyota Inyoka, François Benga and Leila Bederkhan presented their dances in Europe with great success. Yet the where not recognise in western dance history and were forgotten disappearing from collective memory.  Amanda Piña breathes new life into their works with Exótica, tracing back the heritage of racialised artists performing in European theatre stages in what she refers as „the brown history of European dance“. Exótica is an exuberant ritual conceived as a séance through which dancers as ancestors, queer and femmes of color from the past and the present re-appear on stage and come into conversation with the gaze and the ancestry of the audience. Their performative presence opens a space for reenactments; Initiating invocations, exorcisms and celebration.

Artistic direction: Amanda Piña | Choreographic research : Ángela Muñoz Martínez, André Bared Kabangu Bakambay, Venuri Perera, iSaAc Espinoza Hidrobo, Amanda Piña | With and by: Ángela Muñoz Martínez, Zora Snake, iSaAc Espinoza Hidrobo, Dafne del Carmen Moreno Huerta |Dramaturgy: Nicole Haitzinger |Integral design: Michel Jimenez | Stage set and scenography: Forêt Asiatique (1921) by Albert Dubosq, reproduced by Decoratelier Jozef Wouters as part of Amanda Piña’s contribution to Infini #18 (2022) | Technical direction: Santiago Doljanin | Light assistance in Brussels: Krispijn Schuyesmans | Music: Ángela Muñoz Martínez, Zevra | Lyrics: Amanda Piña | Singing: Dafne Moreno Huerta, Angela Muñoz Martínez, Zora Snake, iSaAc Espinoza Hidrobo, Amanda Piña | Live music: Ángela Muñoz and performers | Sound design: Dominik Traun | Costumes: Federico Protto | Director’s assistant: Pierre-Louis Kerbart | Video documentation: CIRCA  

Produced by Amanda Piña/ Studio Fortuna in Coproduction with Kunstenfestivaldesarts, Holland Festival, Festival d’Automne à Paris, Tanzquartier Wien, PACT Zollverein, DDD –Festival Dias da Dança, La Bâtie-Festival de Genève, NEXT Festival | Supported by: De Singel, KWP Kunstenwerkplaats, wpZimmer | Thanks to: Stadsschouwburg Kortrijk, Showtex, NTGent workshops, Bruno Forment, FWF funded project Border Dancing Across Time P-31958, Christina Gillinger-Correa Vivar (archival research), Rolando Vázquez (decolonial theory/interview) Funded by the Cultural Department of the City of Vienna, Arts and Culture Division of the Federal Chancellery of Austria. Performances in Brussels with the support of Österreichisches Kulturforum in Brussels

© Amanda Piña / Nadaproductions, Fortuna 2023

Transmatria – Rocío Marano (2022)

Transmatria delves deeper into Malambo – the traditional dance of the gauchos of Argentina – continuing the process that began in December 2021 with the piece Matria. On this occasion, five malambo apprentices immerse themselves in an exchange with a specialist in the discipline, and approach the rhythms of zapateos, bombo leguero and boleadoras, at a crossroads between contemporary and traditional dance.

Idea, choreography, performance: Rocío Marano
Performers: Gabriela Valdivia, Gabriela Turano, Valentina Wong, Matilde Amigo, Ángela Muñoz
Musical composition: Tatiana Heuman
Costumes: Federico Protto
Supported by: Radialsystem: Body, Time Space Residency, Berlin, Cordillera Berlin, Fortuna Fortuning, Berlin, NATIONALES PERFORMANCE NETZ-STEPPING OUT – Förderung der Entwicklung, Produktion und Distribution von Tanz in neuen Räumen.

Broke - Julian Weber (2022)

At De Oude Warande, the public is taken on an excursion through the park. Their guide constantly changes roles, professions and gender, transforming from human into animal, from hunter into prey, from dominant into submissive and from rational thinker into intuitive doer. At various locations in the park the tour stops, where Weber is dancing, interacting with the environment, while introducing potential histories of the site – blurring facts and fiction. On their tour through the park, Weber is accompanied by a musician, a drummer on a mobile stage, which Weber drags behind them. In equine terminology, ‘broke’ refers to a horse that has been trained to be ridden or to pull a vehicle.


Concept/dance/text: Julian Weber / Performance, music: Ángela Muñoz / Performance/assistance: Asya Ashman / Costume: Don Aretino / Video- documentation: Dorothée Meddens. Commissioned by Lustwarande, Platform for Contemporary Sculpture, Tilburg, NL, as apart of Brief Encounters, September 2022

La Rue – Gintersdorfer/Klassen (2022)

For «La Rue – a communal roadshow» a large Ginterdorfer/Klaßen star cast is coming together and transforming impulses and elements from the laboratory phase of «Place internationale» into a performative song show, which we played on the street and in the theatre.
Movement material was developed, as well as new elements in order to tell stories of our visit to Hambacher Forst and Lützerath. Discussions on political practices, including those of the Paris Commune were carried out as part of the event.


Place International, FFT Düsseldorf and the public space. Gintersdorfer/Klaßen production in collaboration with FFT Düsseldorf, May 2022

School of Mountains & Water – Amanda Piña (2022)

With the artistic mountain walks Mountains in Resistance, the discursive event The Mountain Talks and the Exhibition Divina Presencia– The School of Mountains and Water continues the long-term research into the ongoing loss of our planet’s cultural and biological diversity. The three-day program included lectures, discussions, and an exhibition installation at TQW Studios as well as a bus tour followed by a performative parcours and a workshopin the mountains. The potential interplay of art, indigenous knowledge, activism, and scientific research is at the heart of the choreographer’s work.

Artistic direction: Amanda Piña

Matria – Rocío Marano (2021)

Matria – Motherland explores Malambo, the resistance dance of the gauchos, that combines the step dance – “zapateo” – juxtaposed with rhythmic movements driven by the Bombo Legüero, an Argentine drum. Motherland dismantles the disciplinary and patriarchal aspect of the style and moves towards a dance of rebellion. In a cross between traditional and contemporary dance, it challenges the standard Western aesthetic to create a space for other ontologies of dance and imagine a history not represented in colonial and hegemonic narratives.


CHOREOGRAPHY, DANCE, MUSIC Rocio Marano DANCE, MUSIC Ángela Muñoz COSTUME Federico Protto LIGHTING Catalina Fernandez SCENOGRAPHY Lea Kieffer MENTORS Amanda Piña (Vienna), Michelle Moura Uferstudios / MMPraxis / Nadalokal / Tanztage Sophiensaele 2023

Velvet (2020) by Claire Vivianne Sobottke

“Velvet”, was presented in the context of “Down to Earth”, Gropius Bau, Berlin. The rhythmic choreography unfolds in a garden, a landscape of earth, stones and plants with live music by Tian Rotteveel. Here, Sobottke embarks on a passionate exploration of the turbulent history of the female body and deconstructs alienating notions of female identity and sexuality. With “Velvet”, which premiered at the 2019 issue of Tanz im August at HAU Hebbel am Ufer, the Berlin choreographer uses a series of hybrid portraits to search for the poetic and irrational, which eludes fixed categorizations due to its ambivalent nature.

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Choreography / Performance / Concept Claire Vivianne Sobottke With Maria F. Scaroni, Moss Beynon Juckes, Angela Munoz Martinez, Claire Vivianne Sobottke, Hillary Jeffrey, Sabrina Ma, Abigail Sanders,
Tian Rotteveel and Almut Lustig. Gropius Bau, Berlin. August 2022 and further research in July 2022

Menstrual Metal (2019) by Jule Flierl

Menstrual Metal is the experimental practice of a movement choir based on the extreme obsession black metal music has with the taboo appearances of liquefaction, excretion and disintegration in the human and non-human body. It researches, critiques, estranges and examines the discourses and practices of this genre with the goal of putting the queer- eminist scope to the test. Jule Flierl’s previous work on dissociation and disintegration of the voice and body serves as the foundation for the collective exploration of contradictions and strategic potentials the genre of “Menstrual Metal” finds itself entangled in.

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Direction: Jule Flierl / Sound: Mars Dietz / Text: Luise Meier / Voice and dance performers: Angela Muñoz, Cathy Walsh, Liosha Kokhanov and Zoë Knights.
August 2019, Uferstudios, Berlin, Ausufern Festival

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Concierto de Cuerpo (2020)

Concierto De Cuerpo is a video-performance project that took place in November of 2020 in Seville, Spain. The resulted work is based on the research on the topics of sound of history and architecture, as well as acoustic phenomena.

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Ciudades Canciones

Ciudades Canciones is an ongoing audiovisual series generated from the sonic experience lived in various cities. Giving myself the freedom of the modern Flâneur of the 21st century, with the tools of my body in movement and the mobile phone, I look through my ears and try to capture unrepeatable sounds constituted by the context.

Deep Listening: Open Your Body And Your Ears Will Follow (2018)

Deep Listening: Open your body and your ears will follow is a workshop or collective performance intended to facilitate an openness towards a sensorial listening experience, iniciated from the body and from the physicallity. It is directly influenced by the work of Pauline Oliveros and somatic dance techniques.

Forever Echo (2017)

Forever Echo is a piece inspired by the different forms of freedom experienced in punk music contexts and by the Counterculture. I listen to myself listening to the other. I listen to the power of my own body as an instrument. As a noise maker and a listening instrument. I am interested in the ways in which I can make my body sound and resonate. Listening to the thoughts that compose my own identity.

Nunofyrbeeswax Plays The Stage (2016)

Nunofyrbeeswax Plays The Stage is a piece that interplays with music composing techniques that I use to write lyrics for my band Nunofyrbeeswax, and dance composition. It is an experiment of translating the material I generated for my band into a dance performance aesthetic. We are not playing our musical instruments, but we are playing the space with our bodies and our voices.

Noise IV (2014)

Noise IV is a dance and music piece that emerged from the research on the relationship between the Beat Poetry in the late fifties in the U.S. and Krautrock or Kosmische MusiK in the late sixties in Germany. The two art movements coincide on their interest in the subconcious and the psychedelia. The performance’s music is composed live by Angela at the same time that the dance occurs. Noise was awarded with the RadioCity Price in the city of Valencia in 2013.

Cavidad Radio

Cavidad Radio (ongoing) is a sonic-somatic space for performative inquiry. The invisible in the intervals of language and of the body. CAVITY through our humid geographies, an hydro-feminism carried out by three female artists who move between the north and the south of the planetary sphere. We are Ángela Muñoz Martínez, Cécile Brousse and Natalia Ramírez Puschel. 

N.E.X (2013) by Proyecto Uno, Inmaculada Jiménez

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