Sonoma is a word that doesn’t exist in the dictionary of the Spanish language. However, by combining the Greek word soma (“body”) with the latin sonum (“sound”): Body of sound and sound of the body.
Marcos Morau takes up the essential ideas of the piece he created in 2016 for the Ballet de Lorraine, “Le Surréalisme au service de la Révolution”, which is based on the figure of Buñuel, around medieval Calanda and cosmopolitan Paris, between the Jesuit discipline and surreal freedom. Buñuel has never been so current: he could see perfectly what the future held for us when he found, in the noise of the drums of Calanda and all of Bajo Aragón, that scream directed bluntly to the viscera.
And the women. Our big and small struggles.
We are the pollen that feeds the world.
The first bee.
The perfect storm.
We who see the world from a bird’s eye view.
That we are the eclipse and its shadow.
Those who deviate from the path.
Those who picked up the basket from the river.
Those who watch your nights and get up with the sun.
We who keep the relics.
We who have just arrived and we are fresh…
Violeta Gil and Carmina S. Belda.
Sonoma begins with a scream and ends with a loud bang. In the middle, in a landscape between reality and fiction, a group of women try to free themselves from the ties of the known, to cross their borders using their intuition and instinct. When they come together, that inner cry that they share is amplified, it grows until it overflows and they celebrate it with rituals and offerings, with hypnotic songs and dances. They enter an unknown and dizzying state, a state that frees their minds but at the same time reminds them of their human condition. Sonoma is that place where the storm originates, where the drums continue to beat with a force that shakes the earth and opens a deep crack in the ground under our feet.