All language subtitles for Danzar.con.Maria.AKA.Dancing.with.Maria.2014.720p.WEB-DL.x264-gooz.eng

Let's start.

Call Anabel,

Anabel has to stay there.

Hello

Who are you?

Why do you hurry?

Who are you?

I'm listening to you.

Can you tell me your name?

Wait.

How long?

Wait.

Who are you?

What am I listening to,

it seems

to be a sound

what a mystery

what is the sound?

I see it in the air.

It's saying:
- “Here I am”.

And so,

what I am hearing,
helps to move me.

How beautiful you are

it's the sound of music

coming here today.

You're all looking at me
as if you're staring at me.

You know?

It's a sound that
is coming through the air

and it's slowly nearing the body

and it's moving it.

Let's do it on the floor.

Let's go.
Let's look for the sound of music.

Let's go.

I met Maria Fux in 2006 during
one of her last workshops in Italy.

I was fascinated and attracted
by her approach to dancing,

because it was so different from the
other forms I previously met.

In all my life dance has
always been present.

It is probably
the greatest passion I have,

it's something
I can't live without.

When the body listens to a sound,
it transforms what it hears

into a single movement.
It's something related to that.

Can anyone of you
babies go there, please?

You, the green one.

Please, show me what
happens with the music,

a very simple piece.

Will it always be the same?

It depends on us.

If the same thing can turn
into something different.

My mother came from
Russia when she was 5

with twelve brothers
and a brutal knee infection.

Her parents couldn't say
a word in Spanish,

The only thing they knew was

that they had to leave Russia
because of the Pogrom

when Jews were persecuted.

When she arrived here,
she was hospitalized

and they took out the kneecap

Mum walked unbalanced.
She was lame.

I'm my mother's leg dancing.

Maria Fux is performing
the national dance "Samba".

I am the eldest of six siblings.

My father was a jeweler
who lost everything in 1930.

Dad didn’t like
anything about dancing

thus I lived secretly
dancing and studying dance

but my mother
always supported me.

When I was accepted
to dance at the Colón theatre,

they were looking at me
from the gallery.

My father came to the
dressing-room, he cried

and he said:
“Now I know what dance is.”-

Life brought me
in different phases:

a lot, nothing,
a little and something.

But I do know which is my way.

Argentinian artist Maria Fux
finds the theme for her dance

in the lives of her people.

Her dance tells of women toiling

in the mountain
regions of Argentina.

Hello

Let's see how I do this

Hello

Good morning.

Today is not
the same day as yesterday

because time flowed

I touch the time from
yesterday till today to say

“Good morning”.

I touch the air,
the space around the body

to say “Today is a good day”.

To those who came
to discover what is dance,

what is dancetherapy,

I don't ask them where are they from,
what are they doing or not doing.

Meeting them when they are moving
I realize who they are.

I don't have a relationship with them
outside these encounters.

When the class is over,
I disappear

Well I'm going inside.
Please turn off the lights

I had a schoolmate
at the primary school

who was studying classical dance

and I remember that
I was staring at her with admiration

for her posture and how
she walked and her appearance.

They never let me dance because

classical dance
was impossible for me,

and any other dance as well

because my movements are not
acknowledged by dance.

I’ve always wished to have
someone else’s body.

I wanted to run

I didn’t have any other dream.

I separated after being married
10 years with my son's father.

My son was 7, and I had
no money to maintain us

but my dance job,

teaching what
I was living on the stage.

When the show was done,

sometimes I used to bring
the same music to the classes

and I used with my classes some
of the ideas I had on stage.

It's a matter of how
you perceive the life in people

it comes up as breathing

and it comes up in who you are.

You can feel it if someone has
the happiness I have

about living
with my own work, on myself,

but at the same time
having the possibility to vary.

I feel my time is shorter,
my life-time naturally,

but considering that
I was born in 1922

I realize that my
time is even shorter.

So I have to keep doing
what I do today.

I can't wait for tomorrow.

Have you seen how it rains?

From top to bottom
or from bottom to top?

From top to bottom.

What is rain like?

Listen to how rain sounds.

From top to bottom. It sounds
like toc toc, sometimes tic tic.

When it rains a lot
it sounds like.

What does the rain do,

when it rains a lot.

And when it rains a little?

Do you know why?

The rain told me that in order
to be rain it must have rhythm.

I asked the rain:
“What is this rhythm?”

And it said to me:

“Why not look
inside your own music

as you are someone
who carries the rhythm?”

So come with me,

like this.

The rain filled
the fields with water

and inside the ground
rhythm started to grow.

Each time you look at someone,
you always see something new

Most of the time
I don’t know their names

but I know who they are.

Let’s see how we breathe

Let’s see how we breathe

Let’s see how we breathe

In the same way we breathe,

melody gently touches my body

and it moves me
through the space.

The relationships
are established through time.

They are not
established on first sight.

On first sight
the students understand

that I don’t see them
as different from anyone else

because we are all different.

People who have Down’s syndrome
are wonderfully affectionate.

I give them a further way
to express their affection.

We'll start with this one.

This will be the first one.

The first one and
the second one.

No.7: Birth.

No.9: Tenderness.

And no.4: Linked ties

just the no.4

and The being?
- Later.

The encounter with
Maria's dance arrived

in a particular
moment of my life.

I was 23, I've just graduated
and I'd lost my mother.

Art is intuition.

Art is going to
completely unknown places.

There's no scientific way.

You can stand
in this huge mystery

and say

I can hear the sound
of the wind,

I can hear the sound of the sea.

A blind person

sees in the words I say,
in what she's hearing

that she can
move in tranquillity.

I give her a space
where she can move

without obstruction
so she can hit

a space where
she can express herself.

And I give the feeling that
differences belong to all of us.

Many times we are
blind and deaf. And very different.

Dancing with Maria starts while
walking on Callao Avenue.

Callao Avenue
has Maria’s essence.

I will never forget
taking the bus n.5

from Floresta to Callao
was always an adventure.

My name is Maria Josè,

I am a dancetherapist
and a dancer.

I started in Maria’s
studio in the '77,

when I was
around 9 -10 years old.

I never left her side
and I'm close to her

not only because of dancing.

She is part of who I am.

This is me

Patricia,

Judith, I don’t remember
the names of everyone

Here she is!

There's Maria, Maria Garrido.

Here she is.

Maria Garrido is
a very strong memory,

It's a bodily, an olfactory
and an emotional memory.

Maria Garrido symbolized
somebody who's different

and at the same time mystery.

Maria Garrido was mystery.

Since my mother had
that problem with her leg,

my grandma was telling her that
it will be difficult to get married

or that someone
could fall in love with her.

For this reason,
my mother has always been

the ugly duckling of her family,

the one unable,
the one with difficulties.

Lady.

I'm going to start.

When she got pregnant,

my grandmother told her
not to look at the sea otherwise,

if there were flying fishes,

a fish could be born
instead of a little girl.

I am that fish.

I was born on June the 9th
in 1961 in a small town of Italians,

where the Italian ideal of
physical perfection was quite strong.

If you didn't conform to this
criterion, you were rejected.

When I was 3 months my mother

took me to get
vaccinated against polio.

And since I probably
had low defenses,

my body could
not stand vaccines,

the illness was inoculated.

The way adults looked
at my body was very damning:

"Poor her”, “Poor girl”,
“Oh, look how she walks, poor her”.

And when you are a child
you believe in that label.

For somebody
growing up being pitied

it is very hard to escape it.

I’ve always been
interested in the body’s limits.

I was interested in which way

people who cannot move
could move

thanks to what
I was experimenting

with on the stage
while I was dancing.

And this thread I was
carrying from one thing to another,

had something I hadn’t named.

They named it.

Dance was dancetheraphy.

Maky, here I am!

Let's put it on the tree.

Fix it as you prefer,
as you like, let's see it.

Here we go.
Ready.

Let's go!

Can you breathe without rhythm?

Inside the body
when you feel touched,

when you are happy
or when you are sad,

everything is related to rhythms
which we cannot listen to

but they live inside the body.

They can show up
if you are aware of them,

if you listen to yourself,

not if the others are
listening to you.

You can take life in two ways:

what people think about you
or who you really are.

Hello, how are you?

The first thing I'm going to do
will be eating the music.

If I don't eat it,
it cannot feed me,

it cannot give me anything.

So, I open my
mouth and I eat it.

I put it in this kind of bowl.

It's so good, look
at the music, look at it.

It's so beautiful,
look at it, look inside.

It's inside a little hole,
it's inside the body

and it will come up
if I see it, not if I listen to it.

I have to see the music.

Look at this divine thing
we've got in our hands.

It's like a nest.

Look at what
I'm doing with the nest.

I'm going to give it
the rhythm of music.

With me.

With me.

Look at the thread
coming up from the rhythm.

Look at the drawing
of the thread.

Look at the thread.

Baby, it's an invisible
thread but I can see it.

A thread.

Look at how it moves.
Look at what the thread is doing.

Look little dolls.

Look how we are
giving shape to it.

Look how we are
giving shape to it.

There's something
called imagination.

Imagining that I was
in my mother's womb

before I was born

gave me the opportunity
to think about how I was,

about how I had grown, and how
I had turned upside down in her womb,

to find my way out into
the world outside the womb.

So, this idea helps to
create a new feeling,

and maybe a new connection
with our own mother.

When I was performing in
the south of Argentina,

they found a girl
who was walking

with her hands almost
dragging on the ground,

who couldn't talk, who was deaf

and her native mother had died.

A nun took her to Buenos Aires.

I had a group of kids
with the same age as Maria.

I told them Maria came
from a country very far away.

That none of us knew,

that she wasn’t able
to speak and hear.

I took a piece of cloth.

When Maria Garrido
came across it,

she didn’t know what to do
with her hands and the cloth,

so she slowly started
to open it and move.

This was my first
meeting with her

and I passed years
trying to know her,

learning from her and watching
how she was transforming.

I'm very interested

in how a contemporary artist
confronts the primitive,

searching for a sinthesys.

I'm very interested
in the native Australians,

I'm very interested in the
native side of America and Asia.

I'm influenced by colors,
by the color of the walls of Rome.

They remain in my retina,

and give me
the possibility to be touched.

Everything Maria Fux did
to connect us to Maria Garrido

made her change a lot.

Through the dance,
Maria Fux could find

the way to establish
a connection among us

and could help her
to live in another way.

What was changing in her body

was changing also on
her look, in her face.

We dance life.
And there's life in silence.

In the same way, there was also
life in Maria Garrido’s silence.

Maria Fux could enter
into that reality, into that cave.

I never heard from
Maria Garrido again.

She was gone after
some time being with us.

MARIA GARRIDO'S STORY
BEGAN IN A CAVE IN PATAGONIA

Who are you?
I'm the force,

I'm the energy that expands!
How are you? Beautiful.

The limitation of my mother's leg
kept inside my body.

She, who had so many limitations

but could do so many things,

showed me the path
unconsciously, without knowing.

I didn't come back to the uterus,
I came back to the time

before I was 9 months
old and I could move.

I think that my body
recovers the memory of the time

when I was 8 months
old and I walked.

Maria's peculiarity is her presence,
her gaze, how she sees you,

it's like her eyes
are going through you.

And she transmits this trust,
that you can let yourself go,

and then you just
can't do without,

because it can be
extremely pleasing.

At the beginning
I arrived with the curiosity

of seeing her
in her environment,

of knowing the studio and

to see the place
where everything started.

But then I realized that I was just
at the very beginning of a path.

It's like climbing
down into a cave,

when you're up you don't
know how deep it could be,

but then you realize
that it's the deepest.

Hi! How are you doing?

Did your beauty come?

Marcos, come closer.
Are you sleepy? Are you tired?

He’s waiting for his girlfriend,
this is the problem.

Yes, I guess
she is going to arrive.

That's why
he's there at the door

She always arrives late.
Let's see if she's coming.

Hello.

We're going to meet someone

who's 1,2,3,4
times bigger than a guitar.

Come Marcos. We are going
to listen to something important.

Come all of you.

Come Marquitos, Macarena.

Hello.

The violoncello wants
to teach me how to move myself

and it's saying:
- I'm not a piece of furniture -

Is the violoncello
a piece of furniture?

It is an instrument, but it needs
to be touched to make a sound.

Well, do you know who came?

The musician who made that

violoncello dance
in order to let me dance.

Because if I don’t listen to it,
I can’t dance.

The violoncello is saying:

- Maria, you are going
to receive the music.

Look at it,
look how it’s beautiful.

I like it so much.

How it extends!

How it gets close to the body!

And it draws. Marcos,
it's drawing

The music involves my body.

Let me see, take the music.

Marcos, close your eyes
and look for the violoncello strings.

I don't remember exactly the time
when Maria Garrido left the studio.

It's something that
dissolved in my mind,

also the fact that
the girls go away.

What was happening is that the
girls went away but I kept staying.

But one of the
peculiarities of the studio

is that people
come back after a time

and this is something that I've
noticed many times in these years,

seeing people who come back.

People always
come back to Maria's studio.

How are you?

How are you Maria?
It's so good to see you.

The rhythm is in the space.

I am moving it because
I have the rhythm inside my body too.

Is it true?

Am I the only
who has the rhythm? No!

Everyone has
something wonderful,

called the body’s rhythm.

Then, let’s do it again

touching the space around
and following the rhythm.

How could I think that
a deaf girl could dance?

Because for years
I danced the silence, too.

But the silence of a person who
can hear is a relative silence.

I have memories
about songs, voices

sounds, noises, music.

She didn't know what a sound is.

It happened in 1942.

It was autumn. I was
performing for the first time

as an artist who was
discovering a different form

of the classic dance
I was studying.

I saw a tree who was fighting

against the one last leaf
that refused to fall,

and this inspired me to perform
a new dance without music

called “The last leaf”.

When I wanted to be the last leaf
I was searching for the music

but I couldn't find it.

Then, I asked
the leaf of the tree

“Do you need
music to move?”

And the tree told me no,
it only needed wind.

I could be this last leaf
that would not fall.