Direction, choreography, interpretation and musical arrangement: Miguel Ballarín

Direction and choreography assistance: Poliana Lima

Research assistance: Jara Rocha

Sound assistance and musical arrangement: Diego Navarro

Research assistance, props and visual design: Darío Alva

Costumes: Ida Madrigal

Lighting: Mario Hernández

Production: Nerea Gracia

Inventory, or Detailed Relation of Movable Goods, is a choreographic exercise consisting of the study and development of methodologies, techniques, strategies, devices, “responshabilities” (Jara Rocha) and other theoretical and practical tools, necessary and sufficient to dance and socialize, in a happy and useful way, any personal accumulation of significant body movements. It engages in a non-dramaturgical characterisation work, starting from multicorporality as a possibility and from an auto/bio/choreo-graphical investigation based on an array of techniques of composition and improvisation. 

Mereologically speaking, there are different types of ensembles. The archive records but immobilizes. The collection gathers and rarefies, is predefined and concludes upon completion. The cartography describes, and in doing so intervenes (underlines and excludes) without saying so. The catalogue arranges the elements it refers to in an accessible and analogical way. The index ordinarily points out the relative position of things within an ordered group. The exhibition reorders at will according to a criterion that is not internal to the materials. The anthology is iconic and takes so-called salient parts of a whole to subsume it, displacing equally belonging others. The glossary follows an alphabetical order and the chronicle follows a historical one. And so on. 

The inventory, on the other hand, exposes a patrimonial heritage, refers to the goods that a subject (individual or social) has, and does so in a constitutively open, non-prefixed way, in a genuine and attentive relation of assets: the inventory is always subsequent to the provision and prior to the task, it exists between the collection and the equipment. It is, therefore, a powerful tool for ordering and positioning what is one’s own in relation to what is not and, for this very reason, also a weapon of appropriation and capitalisation, one that is perhaps reversible if directed from the agent who carries it out towards its surroundings, making the centripetal centrifugal but conserving, let’s hope, its compositional and dispositional, analytical and self-political potential. This piece attempts a responsible, affirmative and happy way of approaching, sharing and celebrating such an inventory and proposes, as a result, a multitudinous dance danced alone.

Alpha Thermina