“Morphine is a rite of passage, a ceremony of transition to the other side: sleep, death, madness, fantasy, intoxication. Everything that is woven in parallel to common reality and which, I believe, is the origin and anthropological driving force of dance: expanding space and time, questioning their limits. Dancing to connect with invisible forces, both light and dark, provoking and sustaining trance, generating events, making offerings, petitions.

Emmy Hennings’ reading has been fundamental in embodying a poetics that moves between prayer and sacrilege, devotion and iconoclasm, mystical revelation and addiction.

The work combines ritual elements from Andalusia incense burners from Loja, bell ringers from Archidona-references to popular Mediterranean religious culture (Saint Agatha, patron saint of Catania and Sicily), with elements from my own biography and family memory (the table at which my great granduncle practiced spiritualism to communicate with his dead wife).

In the dance, I develop the concept of the ‘ultimate body: energies outside oneself’, which I draw from the texts of the historical spiritualist Agustina González and which lead me through the dynamics of trance and animism in marginal, domestic, and anarchist Christian culture.” (Luz Arcas)