Resumen de Las tentaciones de Hermes

Víctor Molina, Riikka Annina Laakso

• The existence of frontiers reveals the presence of plurality and claims for multiplicity and for the possibility of transition. The frontier becomes Hermes’ temptation, propitiating the contact between bodies, a borderland where interaction occurs through the sense of touch. The border allows the body to be changed and influenced by an intensive encounter. This paper focuses on dance, more specifically on contemporary dance, where the body is seen through «states of body», both in process and progress, a body in the frontierof constant change. The experience of the body is always the experience of the other, and we aim to identify these zones in the work of various creators, focusing on the intensity of the bodies as aesthetic determination in the choreographies’ borders. Our analysis revolves around the work of three choreographers: Olga Mesa (Spain) offers an extreme vision about the touch-ability of images. Her work moves from dance forms with the ability to touch (Sánchez 2008) to more visual dance (as she says: «a dance that starts from a look»). Through the use of mirrors and video inher choreographies, bodies turn into light and image and, transform into «no bodies». Sanna Kekäläinen (Finland) accentuates the physicality of bodily frontiers, but these purely physical elements contain a profound analysis of metaphysical significance. Through the presentation of human and animal characteristics of the body, bothbaroque and ascetic, this rituality brings up a curious, sacrificial side of the body. Alpo Aaltokoski (Finland) presents the body from a minimalist point of view, but treating social themes. His work centres on «being». The body is shown in continuous transformation throughout time, and humanity is presented as a continuous cycle through generations.