The culture is crying out for a total return to normality

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The Rendibú arts festival held an edition that invited to “think about the light” that exists in all the darkness of this turn of the century, as Laura Sam defended in her vengeful “performance”

On the night of Rendibou, all questions have an answer. It is what has to be the most secretive arts festival of all that is held in the Murcia region: only the organization knows the participating artists. The audience attends a party knowing that what is about to happen will be a surprise. What else is Rendibou? An artistic action festival, led by José Manuel Jiménez Romera and LA VERDAD, with a bear as its mascot -not to be confused with koalas or olinguitos-, which focused on nothing more and nothing less in its ‘pandemic edition’, the artist Argentinian Catnapp, who provided the soundtrack for the series ‘Unorthodox’, and who, before its national consolidation, awarded Arde Bogotá with the Audience Award. Things we already knew about the history of the Rendibú, and which many remembered this Friday in the annex of the auditorium and conference center Víctor Villegas in Murcia, in a new confirmation of the convening power of the Rendibú, which this time carries the motto ‘Unx ours’. Take to the streets! You know well what you are! The mascot of Rendibou 2022 was delighted to see us again.

“Who cares about the truth, when the truth is illicit?” asked at the end of the evening the intense and magnetic Laura Sam, a poet and rapper born in Totana and based in Bilbao, and the musician Juan Escribano (ex We Are Standard ), who offered their first concert in Rendibú after the release this week of their new album, ‘La voz contra’. What’s there? “The contemporary and the urban, aesthetic, and the generations and the social, ideological”. Electronic sounds and millennial frenzy at the top invite us to reflect on the light that exists in all the darkness of this 21st century. Laura Sam, fired at the cry of “queen!” and “motomami!”, he said we’re here for three things: “Come, salute and die”, and made it clear that there is “beyond the key, the selfie and the dagger”. An excellent opportunity to become acquainted with the ‘spoken word’ and an incentive not to boycott ourselves, to be clear about what we want and to wonder when women will stop being afraid.

The highlight of the Rendibú evening was ‘FORMS-String Quartet’, an authentic blend of work, fun and inspiration from Playmodes Studio, a live multimedia concert for string quartet (Salzillo), electronic music and panoramic projections, which the more than 700 guests of the festival learned about the results of rigorous research in the fields of image sonification, algorithmic composition, generative art and graphic notation. Audiovisual research and digital creativity brought to the maximum expression to create sound sculptures. A truly unusual experience that caused a furore as awakened by a scream from Lady Gaga. “21st century vanguard,” they said. «A journey into the future that is today». “Contemporary Expressionism”. “A break with the known.” What music can do with colours, shapes, frequencies… Playmodes’ dynamic massive light sculptures were another marvel.

The bear Rendibou had escaped from its cages, populated by other creatures. Among the public, all ways of thinking, a thousand ways of facing life. The company Onírica Mecánica made one of its most innovative proposals, ‘The rumor of noise’. You have to put yourself in a situation: a man who collects sound experiences, who records landscapes and situations. Boxes and imaginary places that store sounds; your music library on Earth. Live piece created by Jesús Nieto and Pedro Guirao, awarded several times for their poetic-mechanical-imaginary worlds and for their original and moving way of delving into recent memory and the relationship between man and nature and technology.

What María Jerez achieved with ‘Blob’ was precisely to contribute to the mystery of the magic of Rendibú. Finding ourselves with something that wasn’t there before and being subject to constant transformation. The Madrid artist explains it as “a displacement, a process of disidentification, a collision with the indeterminate”, but there is “an attentive gaze that observes from the difference, from the inability to name what it is looking at”. Away from theatrical and cinematographic conventions is the invitation of a maker who explores the strange through choreography. In this case, some dancers moving under some fabrics and causing a whole series of reflections in the eye of the other: what is the difference in this world of collisions?

Immersive multimedia also crept into the Rendibú party thanks to Superlumen and its virtual reality and augmented reality projects. This Murcian studio dedicated to creating experiences and video games provoked the most terrifying cry of bear imitators by asking them the ability to lean over an abyss. What can happen if someone moves on? A “Matrix” experience, said those who dared to step into the metaverse and experiment.

Maestro Espada, the very personal and joint project of the brothers Alejandro and Víctor Hernández (King Wolf), is a discussion of Murcian folklore through the eyes of today. The accent of the orchard gangs fused with futuristic electronics that disorient and encourage everyone to embrace this ‘new people’. Could it be the most radical thing to see a young man playing on a river reed castanets? From years of shared curiosities emerges this duo that saves the sounds of yesterday as relics for this sidereal today.

Rendibú is anything that doesn’t fit into a conventional format. Driven by rules based on randomness and endless possibilities, the bear festival offered moments of happiness to an audience eager to share and finally receive a return to normalcy. A nod to Ukraine: the menu served at the party, prepared by students from the Murcia and Cartagena catering schools. Let’s celebrate the feast in peace.

Source: La Verdad

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