This presentation includes an introduction to the creative process regarding this piece, a discussion about the various elements utilized in the choreographing and staging of it, the journaling that accompanied the rehearsal process, as well as a a final reflection about the different stages of the work and how it influenced my artistic sense of what is sacred in art-making.

1. SYNCRETIC LINEAGE:
• THE SEARCH FOR A CONNECTION WITH THE SACRED
THROUGH ART HAS ALWAYS BEEN ONE OF MY PRIORITIES
AS A DANCER. THIS SEARCH HAS LED ME TO PRACTICE
MOVEMENT SYSTEMS SUCH AS AFRO-CUBAN DANCE, TAI-
CHI, YOGA AND MODERN DANCE.
INCARNATION OF THE NUMINOUS
QI USING ANCESTRAL
ARCHETYPES
JORGE L. MOREJON
UNIV. OF MIAMI

2. NUMENLESS DANCE
ALL THESE FORMS, EXPERIENCED IN THE
STUDIO, SPECIFICALLY IN THE UNITED STATES,
HAVE LACKED, FROM MY POINT OF VIEW, THE
CONNECTION THAT THEY ONCE HAD WITH THE
NUMEN.

3. RE-ENCOUNTER
SYNCRETIC LINEAGE IS A WORK IN
PROGRESS WHERE I IMMERSE MYSELF IN THE
REVALUATION OF THESE INFLUENCES AS A
STARTING POINT IN THE PROCESS OF RE-
ENCOUNTERING THE RITUALISTIC PRACTICES
OF MY ANCESTORS

4. SCENIC BACKGROUND
I USE THE IMAGE OF MY MOTHER, WITH
DEFINITELY ASIAN FEATURES AND MY FATHER
WITH EUROPEAN FEATURES, AS A SCENIC
BACKGROUND TO INTERVENE IN THE
ANCESTRAL PRACTICE OF TAI CHI WITH MY
OWN CREATIVE LANGUAGE.

5. YING YANG
THE CIRCULAR SCENIC SPACE, ILLUMINATED
FOR THE DANCER, EVOKES THE
PHILOSOPHICAL DUALISM IMPLICIT IN THE
OPPOSITE AND AT THE SAME TIME
COMPLEMENTARY DYNAMICS BETWEEN YING
AND YANG.

6. KWAN KUNG
THE MARTIAL GESTUALITY REFERS TO GENERAL KWAN
KUNG, DEITY OF WAR AND LITERATURE, WHO HAS LEFT
HIS ANTHROPOLOGICAL MARK ON THE IMAGINARY OF
SOME SINOCUBANS.

7. 108 / SACRED
THE ONE HUNDRED AND EIGHT MOVEMENTS
THAT MAKE UP THE CHOREOGRAPHY
METAPHORICALLY ACTIVATE THE ENERGY
CHANNELS THAT RUN THROUGH THE BODY
WHEN THE QI IS ACTIVATED.

8. AVOIDING LITERALITY
WHAT CONNECTS THE DANCER WITH THE
NUMEN AND CONSEQUENTLY TURNS HIS
EXPRESSION INTO SACRED ART IS PRECISELY
HIS EXISTENTIAL AND TRANSCENDENTAL
QUALITY. THAT IS, THE PIECE USES AVAILABLE
ARTISTIC SOURCES, ACCORDING TO THE
ARTIST'S PERFORMATIC EXPERIENCE, TO
PRECISELY TRANSCEND ANY NOTION OF
CULTURAL IDENTITY THAT LIMITS HIS OWN
SENSE OF CREATIVE FREEDOM.

9. SAN FANCON
THE INCLUSION OF THESE INFLUENCES GIVE WAY TO
THE ARCHETYPE OF SAN FANCON, THE SYNCRETIC
DEITY OF THE SINO-CUBAN PANTHEON THAT IN THE
PIECE COMPRISES THE THREE AFOREMENTIONED
ARCHETYPES. THIS REPRESENTS THE IMAGE OF THE
MYSTICAL FATHER, THE IDEAL OF DISCIPLINE OF THE
ACTOR'S BODY IN ABSTINENCE, PURITY,
INDIVIDUALITY AND CONTROLLED VIOLENCE OF THE
CHINESE OPERA WHERE KWAN KUNG IS GUAN YU.

10. PROCESS
IN THE CREATION OF HIS OWN STORY, SAN
FANCON EXECUTES A DANCE METAFICTION
THAT BRINGS TO LIGHT THE DIVINE MANDATE,
A SYNCRETIC MIXTURE OF MARTIAL
NARRATIVE AND SPIRITUALITY, WHICH
CONSISTS OF THE CREATION OF OUR OWN
LINEAGE THROUGH DANCE AND MOVEMENT.
THIS EXPLORATION USES THE TAI CHI
MOVEMENT OUTSIDE OF ITS TRADITIONAL
CONTEXT TO BEGIN TO FIND ITS ESSENCE.

11. CONCLUSION
SPIRITUALITY IN ART CAN BE RESTORED
INDIVIDUALLY AND CONSCIOUSLY. VARIOUS
INFLUENCES CAN CONTRIBUTE TO THE
RESTORATION OF THE SACRED AS IF THEY
WERE THE PIECES OF A PUZZLE. NOURISHED
BY THE LANGUAGE OF QI, COMPLEMENTED BY
ACHE AND FAITH THE SACRED EMERGES.

12. WORK IN PROGRESS
WITHOUT FORCING IT, THE NUMEN EMERGES
AS A RESULT OF THE PERFORMATIC CONTEXT
OF THE DANCE-RITUAL THROUGH WHICH THE
FUNCTION OF THE DANCING-ACTOR BECOMES
SACRED.