• Dance


Directed by Amelia Ibáñez and Marcos Sánchez


  • Spanish
  • 10 minutes

In the Longotoma dunes in the region of Valparaíso, the bodies of a group of dancers both blend together and stand out against the serpentine outline of the sand.

432 is an audiovisual performance about the relationship between human beings and nature (the Longotoma dunes in Chile). The film conveys the silent and subtle dialogue that occurs between the bodies, human figures and sand dunes. At the same time, the bodies seem to gain an awareness of the space and respond to the physical stimuli this offers, such as the wind, sand, temperature and sun. The camera pauses on some of the simple situations involving the perception of physical space - a body reacting to the texture and temperature of the sand or moving in relation to sunlight, clothes blowing in the wind, climbing a tree. The wind changes the outline of the dunes, constantly transforming the dimensions of this geographical element, without it ever achieving a determined shape.

The piece has the structure of something unfinished: certain shots are provided as mere suggestions, so that each viewer constructs a play based on their own imagination, with different possible interpretations. These two aspects - presenting a physical perception of the relationship with space and the semblance of something unfinished - is what makes 432 a play that is the convergence between the discipline that is dance and an audiovisual style.

Cast and crew

Directed by: Amelia Ibáñez and Marcos Sánchez | Director of photography: Marcos Sánchez | Sound designer: Juan Pablo Aguirre | Costumes: Francisco Calbacho and Bárbara Müller | Producer: Francisco Calbacho | Performers: Matilde Amigo, Jesús Briceño, Alexandra Miller, Carlos Palacios, Simón Pascal.

Amelia Ibáñez


Dance in unconventional spaces

Born in 1981, this dancer graduated from the Academy of Christian Humanism University. Between 2010 and 2012, she was a permanent member of the Compañía José Vidal, taking part in productions such as Tramas, Dosmildoce and Ecosistemas. In 2012, she formed the company Tres son multitud, putting on Introducción (Taller Bloc) Preparación para el invierno (Matucana 100) and Tejidos (Sala Arrau’s Up-and-Coming Choreographers season at the Municipal Theater). A constant factor over the course of her career has been her questioning of dance, bringing it to unconventional spaces and reflecting on its limits when in contact with other disciplines. Together with visual artist Tomás Rivas, in 2016, she created and worked at the Sala de Máquinas venue, a space created by dancers for dancers to promote encounters between creators, opening up a place for experimentation in this discipline. In 2018, she handed over the running of the venue to artist Alexandra Mabes so she could devote all her time to creation. Between the end of 2019 and the beginning of 2020, she was invited to direct a performance of Resonancia (originally held at the Museum of Contemporary Art) at the Media Arts Biennale with the same team she’s been working with since 2017 as well as some new members. She’s currently editing Relieve, a dance video recorded in Puerto Natales, for which she was general director, as well as working with José Luis Vidal, the El Desprecio production company and the Compañía José Luis Vidal.

Marcos Sánchez


—It takes place in the Longotoma dunes located between La Ligua and Papudo, a place whose biodiversity is unique and that is of important natural value, with minimal anthropic intervention and a high level of endemic species. These characteristics led to it being named a Natural Sanctuary in 2019, together with the Salinas de Pullally wetlands, which together cover an area measuring approximately 653 hectares.

—The appealing photography makes it look like there’s a kind of sand landslide occurring at times, such is the dreamlike mural before our eyes. At the same time, the use of an aerial camera provides exactly enough space for the bodies to be in shot. Although the place (Longotoma) is specific, the contrast between humans and nature in this piece is completely universal.

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