Around the exhibition of audiovisual dance Fiver, which can be seen in the Amadis Chamber since March 17 to April 30, Primary Association organizes and programs a series of shows called DanzaJoven, in order to publicize the work of young artists I do so to reach a young audience, usually away from this kind of artistic performances.

The dance will be held in Room Dialogue and Amadis Hall Saturday 2, 16 and 30 April, 12 to 13: 30h, set around three general themes: Dances of the World, Urban Dance and Contemporary Dance.

This is a sample of dances from different continents and different styles in order to show the cultural diversity through dance as part of a common heritage within the reach of young people, helping to cement the cultural and artistic identification of a plural society. http://www.injuve.es/creacionjoven/noticia/espectaculos-de-danza-danzajoven

In addition to these dance performances, in this room you can watch audiovisual works awarded since 2013 to 2016 for the event and you can also attend various talks about dance.

On Friday April 8 at the Sala Amadis there was a talk given by Ana Abad Carlés “Of tradition to the revolution” in which talked about the ballet’s evolution until ourdays.

Starts talking about "Les Ballets Russes" who put dance on the head of the avant-garde.

Then the imperial tradition, the ballet evolved showing us a great choreographic figure as was Marius Petipa, with 'Sleeping Beauty' as one of his great works.

Passing by Isabella Duncan, an American who brutally changed the idea of ​​dance that then had the ballet dancers, feeding of these artistic revolutionary ideas to one of his students, Fokine.

Group Mir Izktuzva, Russian intellectuals who wanted to change the ways of Russian culture, noted choreographer Serge Dighilev, from which choreographic works begin to take responsibility, to be signed, and no one can change it unless the same choreographer permits. He sent a letter to the Times in 1914 in which he explained how was the new ballet: the whole body is involved in the most expressive way possible, choreographers and teachers of the dancers should study the national dances of the countries represented in the works, it should relate the work with art and literature in which the scene is set.

Petrouchka applies the principles of Stanislavsky character creation. In the play "L'apres midi d'un faune ' highlighted the protagonist Vatzlav Nijinsky was also a choreographer of ' Le sacre de printemps' was a complete disaster. Finally, Nijinsky had mental breakdowns and was the first case of three that ended in Russian ballet.

This festival offers a great opportunity to meet different views of dance, to understand it and live it a little more, to bring it closer to modern society in a striking manner and thus reborn again and not leave her. It is a festival for all ages and free. It is certainly a perfect plan for any day.