María La Ribot Celebrates Career Finale with ‘Juana Ficción’ in Brussels

Choreographer María La Ribot concluded her distinguished career with the performance of ‘Juana Ficción’ in Brussels, a poignant exploration of the life of Joanna I of Castile. This presentation took place during the Europalia festival, marking the end of a more than 30-year artistic journey intertwined with the historical figure often referred to as ‘Joanna the Mad’.

La Ribot’s work serves as a poetic portrait of the struggles faced by Joanna, who was historically marginalized and often depicted through the lens of madness. “It’s Joanna fiction because there is always a fiction invented within history and we want to remove that stigma,” La Ribot explained in an interview prior to the rehearsal, highlighting the need to reassess the narratives constructed around female figures in history.

Exploring Themes of Identity and Madness

Joanna’s tumultuous life was marked by personal tragedies, including the infidelities and death of her husband, Philip the Handsome. She spent 46 years confined in a convent, a period that La Ribot conveys through dynamic movements and evocative visuals. The performance features an orchestral backdrop led by Asier Puga, alongside the soloist ensemble Grupo Enigma and the polyphonic Schola Cantorum Paradisi Portae.

The choreography is complemented by costumes designed by Elvira Grau, inspired by Hieronymus Bosch’s The Garden of Earthly Delights. This blend of historical and contemporary elements creates a unique atmosphere, amplifying the emotional weight of Joanna’s story. The music, rooted in the 16th-century songbook gifted to Joanna and Philip, seamlessly transitions into modern electronic influences by Álvaro Martín, reflecting the chaos of Joanna’s mental state.

Reflecting on Power and Violence

La Ribot draws parallels between Joanna’s plight and contemporary issues of state power and violence. She stated, “The centre of the work is Joanna, but it is also about state power, about terror; we see it now in Gaza, how the power of the state of Israel massacres and commits genocide in full view of everyone.” This approach not only highlights Joanna’s struggles but also serves as a commentary on the broader societal issues that continue to resonate today.

Lighting plays a crucial role in the performance, with La Ribot emphasizing the gradual dimming that mirrors Joanna’s descent into obscurity. Each performance is meticulously timed to coincide with the 45 minutes before sunset, enhancing the thematic elements of loss and disappearance. In Brussels, an artificial spotlight was necessary due to the early afternoon timing, but the effect remained striking, drawing the audience closer to La Ribot’s portrayal of Joanna, enveloped in solitude.

“My works are always transformative; that’s why I make them,” La Ribot remarked, reflecting on her artistic intentions. As she considers her own career challenges, she acknowledges the obstacles she has faced, often linked to the patriarchal structures in the arts. “You always face many obstacles, but I don’t know whether they come from the profession itself or are sexist or patriarchal,” she noted.

La Ribot’s commitment to innovative expression is set to continue, with a retrospective titled ‘Resolution’ scheduled for 2027 at the Reina Sofía Museum. This exhibition will feature significant works from her career, spanning from 1993 to 2024. “Every ending is the beginning of something else,” she emphasized, hinting at future projects that promise to blend genres and challenge artistic norms.

In her final bow at Europalia, María La Ribot has left an indelible mark on the world of dance, inviting audiences to confront the complexities of history and the ongoing struggles of women ahead of their time.