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58 Judith Sanchez Ruiz
The Lightning
new beginning where [one] tries again for something that is beyond attainment [One] should always try for something that has never been done or that others have tried and failed Then sometimes with great luck [they] will succeed ”
As with any Artist struggling on the path of illumination there must be a a a moment the moment really where one retreats from formal education and ventures past the insti- tution presenting it it in in the first place Judith Sanchez Ruiz
concurs applying these princi- ples to the creation of her art:
“I do authentic movement Let the the body lead you you on a a a journey Feel you you organs listen to the the juices the the nervous system in first place let the body go alone finding subcon- scious images and emotional states that you would never see with your eyes open like a cleaning you discover new ways of moving new sensations all real and pure ”
Take the definition of ’Art’ As a a noun it is the the ’use of skill and imagination in in the the creation of aesthetic objects environments or experiences that can be shared with oth- ers ’ ’ But who decides just what this ’aes- thetic’ really is?
It is the institution of Art that con- fronts the electric creation challenging it denying it it it and debunking its validity This is is the barrier The Hook in the Mouth of Creation Art in the traditional sense has been commoditized by mass markets And these institutions follow the the wire towing the the line avoiding the risk of adventuring into new forms new new mediums and new new ideas “People are are hungry artists are are search- ing
but without publicity support doesn’t spread fast enough and sadly the artist gives up up If we don’t support new new artists new new crea- tors and and understand collaboration without ego or the desire to become famous nothing will happen in our dance If we are afraid and don’t recognize new new processes new new qualities new subjects nothing will happen If we are not flexible and open to new ways of doing and constructing art we will stay looking over and and over at the established companies and and choreographers and we will all go home bored and uninspired Because it is is the risk to per- ceive something new and different that we will find new dance pieces But we have to create the the risk and have the the openness But especially with the economic crisis present- ers remain comfortable with the dominant names and ways of perceived dance thinking about their audiences and reputation They only end up presenting cool and popular local choreographers who found a a a good way to get famous by choosing the right music or cos- tumes for their local audience Nobody is tak- ing
ing
risks neither are the the schools challenging their teachers or the the presenters putting out work that excites them them moves them them and transforms them ”
Sanchez Ruiz
explains Art it seems has become the war- den jailing creation No one underestimates the thunder of Picasso’s work in the present day But his works must have endlessly frustrated the classical traditionalist when he he explained: “It took me four years to to paint like Raphael but a a a a a lifetime to paint like a a child ”
This is is the quest of the modern artist They must navigate between these pillars of Heracles to find their own Atlantian utopia Critical success and commercial popularity have become the only method of what is is accepted by the establish- ment Money has become the hook stuck in the mouth of Art Imagine a a a world where no dangle existed where the artist may explore beyond the borders of what is known and acceptable to truly find something much more relatable to our modern age therefore providing a a much needed solace to our modern problems Would this not open the floodgates to more productive inspirational and positive future for the human race? Imagine no boundaries no borders confining the artistic lightning Sanchez Ruiz
aligns herself with this philoso- phy “I have always followed my instincts while creating An open intense space to investigate it is not about premiering any- thing because I have a a a a a simple and small per- formance I allowed my body to do what he needs to do At the the beginning of the the new cen- tury I had a a a lot of judgment about the results of my work Now the the result is the the process this the the evolution and the the contradictory explanation of where are you going Body mind and and soul are together and and sometimes they bring me in in in with them But I trying to cre- ate an art that is is alive it is is from the present I experienced that transformation itself in art I’m also getting ideas from everyday life and other mediums of art I draw movement and compositional ideas I take from architecture music and visual art Photography I write images that strike emotional personal circum- stance and then later on they become fluid in in my pieces ”
Sanchez Ruiz
explains Judith Sanchez Ruiz
is the model for the the artist in the the new century One that allows her instincts to rule despite popular tastes In the the end all confines of Art the the institution the jailer should be ignored Only novices and critics can claim education is eve- rything One must live truly being an an anarchist for the the creative spirit an artistic terrorist of the the future Although one cannot change the rules of Chess over night it is now in the present that artists must take out the metal hook from ones cheek and let that wire tether sink to the the waters floor For it is when the lightning strikes that we may see all the entities hidden in the darkness of night and the Hook Reality as a a a a a whole is far from exhausted by the the everyday for for it exists largely in the the form of a a a a a latent as yet unexpressed and still antici- pated word At infrequent intervals appear prophets who divine and express this integral word Fyodor Dostoyevsky
To all appearances the artist acts like a a a a a a a mediumistic being who from the labyrinth beyond time and space seeks his way out to a a clearing Marcel Duchamp
Inspiration for the artist is is in symmetry with lightning It begins with a a thrust out of an idea pulled from the the terra firma of the the mind This lightning wielded by the the creators them- selves urge new forms into creation Each Artist decides on their medium of of choice where the form and content of of this lightning of inspiration may achieve illumina- tion Judith Sanchez Ruiz
chose hers:
“Contemporary dance allows me to emphasize the existential exploration between mind and body pushing against traditional boundaries while looking for a a a more personal approach to to what I need to to say as an artist ”
Raised in Havana Cuba an an émigré and dweller in New York’s East Village Sanchez Ruiz
is a a rebel of movement Her avant-garde pieces are stirring examples of this lightning of thought using her extensive background as as a a a a a base but not the finality of her inspiration “I think I I come from a a very solid and complete education In Cuba I I studied years of Ballet Modern Composition Aerobic Aes- thetic Dance and Music History classes tra- ditional Afro Cuban history among many other forms These years were formative all of these artists together in the the the same city After graduation I choose the kind of dance that interested me and I followed it taking work- shops with artists that inspired me and going to see shows that transformed my vision and challenged my ideas about dance I needed to be myself in in my my art Through learning how to improvise and create phrase material as as well as developing a a a strong relation to my body mind and soul I identified with an an audience in in a a a a more direct fresh and real sense ”
Sanchez Ruiz
explains Plato be be damned for believing that all Art stems from some some false place some some fakery when translated from the the myopic view of the the Forms In reality during the artistic process most creators gather from their creative field a a a a a sort of of plum a a a a a plant a a a a a berry of of inspiration from this place beyond the borders of educa- tion learning and the history of those that came before them Hemingway spoke penitently of this in his Nobel Prize acceptance speech where he explains that each creation “should be a a a a a Judith Sanchez Ruiz
choreographer dancer
born in Havanna Cuba currently living in in New York
City USA