<p><strong>Chroreography</strong> : Blanca Li <br /><strong>Music</strong> : the Gnawa Halwa of Marrakech ; &laquo;<em>Nana del Caballo Grande</em>&raquo; by Camar&oacute;n de la Isla (lyrics : Federico Garcia Lorca) ; &laquo;<em>Callej&oacute;n del Muro</em>&raquo; by Paco de Lucia ; &laquo;<em>Por los Campitos de Batalla</em>&raquo;, popular song by Juana la del Cepillo <br />Scenography : Victor Ramos and Jorge Vasquez <br />Lights : Richard Bessenay <br />Costumes : Sybilla</p>
<p><em>&laquo;Two different moods exist in this  production. The first, very personal, restrained and hard; the second,  where energy explodes and the body is drained. It reflects two different  ways of dancing to reach the same paroxysm. It&rsquo;s this contrast which  interests me.&raquo;</em>. B. L.</p>
<p>NANA is a sensual and cruel reflection about the  aesthetics and energy contained in flamenco. Its traditional elements  are transposed in the contemporary dance field.  <br /><em>&laquo;In Nana, I wanted to convey the essence of flamenco  as I practice it, but by using a completely modern language. When I  created the choreography Nana, I went through one of the most difficult  yet exciting moments in my life. Perhaps that&rsquo;s the reason why I tried  to give peace and structure to this work.&raquo;</em> <br />Blanca Li&rsquo;s experience of &ldquo; Moussems &rdquo; (festivals) and &ldquo; Lilas &rdquo;  (ceremonial nights) with the Moroccan Gnawas is at the origin of LILA,  the second piece of the show.  <br /><em>&laquo;I have been working with the Gnawas for several  years now so that they fully grasp the essence of contemporary dance. We  have a total understanding of one another.&raquo;</em> B.L.</p>