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FECED Network Laura Lizcano, current president of The State Federation for Dance Company and Enterprise Associations (FECED), follows in the footsteps of the former president Juan de Torres so that the organization’s struggle for visibility and spokesperson role are kept intact.
Excéntrica Producciones (Isabel Vázquez / Sevilla) Hora de cierre.
Communication and visibility (of the dance sector) are two recurring terms when talking about FECED –The State Federation for Dance Company and Enterprise Associations– and its role within the dance sector. This institution has struggled for more than eight years to become an effective spokesperson among the Spanish dance companies and institutions, as well as to ensure the elevation and promotion of our dance at national and international settings. Juan de
Luis Castilla
Dance companies
Torres, choreographer and co-director of the company Larumbe Danza from Madrid, had acted as president of FECED since its foundation, and he has just handed over his duties to Laura Lizcano, choreographer, dancer, and director of her own company Bikini Ducc from Seville, also former president of The Association of Professionals and Companies for the Development of Dance in Andalucía (PAD). This change does not have any impact on FECED’s guidelines, which remain unchanged. “First, I will continue with the work developed by Juan de Torres regarding the need for dialogue and his idea of internationalization of our dance companies”, Lizcano stated. “It’s a slow process but it delivers
results. It is not easy to sell an intangible product such as dance, which is very different from selling things like shoes or hams. In this sense, his tenure was important because, initially we did not have a presence. Now we do. We also have plans for bringing dance to television. As you can see, the goal is to achieve visibility. And this is, precisely, another reason why I accepted the position. It seemed important to me that FECED had an Andalusian president. That would give continuity to the efforts made by the PAD for achieving the visibility of the Andalusian dance.” Certainly, Juan de Torres’ efforts were always focused on communication. “Establishing a dialogue is very important. That has always been a handicap within dance professionals. It was necessary to structure two communication lines, one among ourselves and another with the institutions. Unfortunately, the crisis appeared and we assumed a more defensive attitude. But I must admit that from the very beginning we found support and willingness from the INAEM, which is willing to help FECED to become an official representative of the Spanish Dance.” In general, lack of communication creates ignorance, even within the complex web of governmental organizations. They feel much more comfortable defining and creating lines of action for tangible products such as cheese or furniture than for dances with an ephemeral appearance. “It is obvious that we are not an industry, neither cultural nor other kind’s. We are proud craftsmen. I really like the image of the Italian craftsman who combines with such good results his craftsmanship with innovation”, said Torres, who takes the opportunity to make a balance of his tenure at FECED. “In all these years in FECED, I think the most important achievement has been the definition of the dance professional’s identity, not as member of a union, but as an individual that makes invaluable contributions to art and society.” Today you have on your hands a good example of FECED’s communicative mission. This extraordinary issue of susyQ/Dance From Spain, constitutes an important action to make Spain’s dance internationally visible, bringing together the efforts of the Directorate General of Cultural
Industries of the Ministry of Culture; the National Institute of Performing Arts and Music (INAEM); the General Society of Authors and Publishers (SGAE); the SGAE
Foundation, with the support of the Spanish Agency for International Development Cooperation (AECID); and the Cervantes Institute Ñ
舞蹈团体
FECED 舞蹈团体网 虽然Laura Lizcano接替Juan de Torres成为了国家舞团联盟的主席， 但是该联盟为舞团利益奋斗和保持各方对话的宗旨从未改变。 当我们谈论起国家舞团联盟的时 候，沟通和可见度是关键词。作 为国家专业舞蹈公司和舞蹈协会 联盟，八年来一直致力于国内各 个舞蹈团体和政府机构之间的沟 通，并且在国家乃至国际范围内 全力推广我们的舞蹈。马德里 Larumbe Danza舞团的合作总监 Juan de Torres自其联盟成立以来 就一直担任主席，他退位后由塞 维利亚Bikini Ducc舞团的总监， 安达卢西亚职业舞团协会前任主 席，舞编和舞者Laura Lizcano/编 舞，舞者和Laura Lizcano继位。 然而在经历管理层的变更后职业 联盟的营运方向一如既往。 “开始时，我希望延续Juan de Torres的工作方向，促进舞团间的 对话和国际化推广。” Lizcano 解释道，“虽然这是一个漫长的 过程，但是成绩会是斐然的。推 广一个像舞蹈一样的无形商品， 并不是一件容易的事，不像是皮 鞋和火腿。其实最重要的是行 动，以前我们没有行动，现在我 们有。另外，我们还想将舞蹈带 进电视节目。我们的宗旨就是让 更多人看到舞蹈。这也正是我接 任联盟主席的原因，因为我觉得 由一个安达卢西亚人来担任职业 舞蹈联盟的主席可以同时推广安 达卢西亚的舞蹈。”而上一任主 席Juan de Torres一直以来也将 工作重点放在舞蹈的沟通和推广 上。“我认为对话十分重要，因
为这一直是职业舞者的障碍。建立 起两条沟通渠道是十分重要的，一 条是在我们内部的舞团之间，另一 条是我们与官方机构之间的沟通渠 道。我们在行动之时遇到了经济危 机，让很多事情变得困难，但是我 必须承认，国家音乐和舞台艺术管 理局从第一分钟开始就给予我们完 全的支持，维系了国家舞团联盟代 表西班牙舞蹈行业的愿望。” 一般来说，缺少沟通会造成对认知 的缺失，对于舞蹈在政府机构里的 推广也遇到了相同的困难，毕竟 舞蹈不像奶酪或家具一样触手可 及。“很明显的，我们不是生产厂 家，既不生产文化也不生产任何其 他商品，我们自诩为自豪的手工 艺术家。我喜欢意大利工匠的形 象，因为他们善于创新。”她强调 Torres抓住了发展的契机，“国家 舞团联盟经营的那么多年来，我觉 得最重要的就是定义了什么是职业 舞者，支持艺术和社会的发展，而 并不是成为了舞者的劳工代表。 现在沟通的任务传到了你们手 中。这一期意义非凡的杂志susyQ/ Dance From Spain（susyQ/西班牙舞 蹈），肩负了在国际上着宣传西班 牙舞蹈的重任，并且获得了西班牙 文化产业部；国家音乐和舞台艺术 管理局(INAEM)；作家和编辑协 会（SGAE）与西班牙国际发展合 作社（AECID）以及塞万提斯学院 等多个机构的大力支持。Ñ