ROJO is a project in a show format whose objective is to bring the figure of the person who migrates closer to the people of the first world. In this way, generate empathy towards those who come from abroad and help people who flee their countries to have a greater reception. RED is a work that can be represented to any audience regardless of their language or nationality, since it hardly uses the word and when it does use it, it does so in the language of the people present.
Cross-border/international
Spain
Portugal
Member State(s), Western Balkans and other countries: France
Member State(s), Western Balkans and other countries: Belgium
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Mainly urban
It refers to other types of transformations (soft investment)
ROJO (RED) is the first solo work of the clown Mireia Miracle. Made its début in Circada OFF Festival 2017 and won the Circaire prize. In 2018 she won the EMERGING ARTIST PRIZE ZIRKOLIKA at La Nit del Circ (Catalonia) and was also nominated ROJO for best street performance and best street show. in 2019 receives the “recommended show” seal by REDESCENA.
The objective of the project is to sensitize the public about the figure of the person who has to leave their home, contributing to create a society of more humane values.
ROJO has been touring since 2017 around many festivals and very diverse circuits (Kaldearte, Cornellá clown festival, Clownia, Circaire, Circ Cric Woman Clown festival, Mimos, Les Jours Heureux (France), Esposende, M.A.R (Portugal), Mut, Matadero Madrid, Circorts, Cangas Comic Festival, Acambalachous, Mac Mislata, San Isidro, Red Pearl Woman Festival (Finland) among others.
human values
migrations
borders
humanity
empathy
At the sustainability level, say that all the materials used in the show are biodegradable or of more than one use. The company has tried to carry out its work taking advantage of making the maximum number of representations on each journey.
ROJO is an example of how social theater can be done in an attractive and visually moving way. Sometimes, in social theater, the importance of aesthetics or beauty is left aside, as if you are not sure of a powerful communication tool when it comes to communicating a message. In this sense, the company makes use of a very attractive aesthetic so that the background of the work can reach directly and through beauty, achieve empathy towards those people who have had to leave their homes.
It is important to point out that the performing arts in Spain, Portugal and, to a lesser extent, in France, are almost always led by men. Especially in the theater circuits in which most of the professional companies or artistic works are mostly men. At Mireia Miracle Company we are a majority female team and we are proud to be able to address social and political issues as women. Since we consider that we have a lot to contribute regarding values such as empathy, solidarity and the capacity to welcome.
Civil society benefits from the values of the project since what is important for the company at an artistic level is, above all, generating dialogue. We believe that the first step for a society to transform is, as Gandhi would say, through dialogue and observation of certain issues. For us it is a success that a family can discuss the migration crisis that the world is suffering and that they do so, regardless of the age limit. It is a priority for our company that the topic of the migratory crisis is approached from art and from people's leisure. In this way, leisure becomes a space for dialogue on issues that concern us. It should also be noted that when an audience of different origins and nationalities sits together and mixes to watch a show, from the company we consider that this is A SPACE OF PEACE, a space in which the differences between human beings are softened to give place, for a small space of time, to a better world.
It is important to highlight the commitment on the part of public and private organizations to program a show on borders. Town halls, schools, Institutes, non-profit organizations, etc. All of them opted to bring to their places a work that addressed a complicated topic. In a world in which leisure is based on fast consumption, betting on a job that is in another paradigm is an act of commitment to the reality experienced by many people who are forced to leave their homes for reasons such as wars. , the environmental crisis or the exploitation of their countries and economies.
It should be noted that during the 2019 PAndemia, the show could be programmed thanks to the volunteers who were part of the show. At a time when the public could not go on stage, the way to maintain a show that plays with the improvisation of the public was through volunteers. In this way, a network of collaborations was created around the theme that brought not only the theme but also the art to the people of the municipalities where ROJO was represented.
Different professionals have been able to intervene in the project to put themselves at the service of the project: in audiovisual material (Fernando Menendex, Arles Iglesias and Noel Rayo Studio), in choreography to Iris Muñoz, in the distribution of the work to Culturactiva, Circulant, Iñaki Díez, L ´andrómina, Sebastián Merlín in music, Lara Poto de la Cámara in lighting plan implementation, Dayvoo in web design, and Dreams forAction in marketing and social networks.
In recent years ROJO has performed 170 times before 200 and 500 people at a time, which indicates that up to 40,000 people have seen it.
ROJO es un proyecto novedoso en la medida en la que decide poner el teatro social a la altura del teatro comercial convencional para acceder así al mayor número posible de personas para que el mensaje, llegue de manera amplia y efectiva
The methods used to create the project are based on different lines of work.
1) From the social theater, political theater of the directors Moisés Mato and Augusto Boal, the objective of putting social issues on the artistic table is collected. And also demonstrating that those people who dedicate themselves to social theater can and should make their vital and human objective their profession. These pedagogies also contribute the symbolic character, that is, using the symbol as a communicative tool to delve into the subject. In this case, in RED, a metal border of two meters high by 5 meters wide is used. It is also very important to highlight the influence of Charles Chaplin in this work. The company wanted to have it as a reference not only at the fund level but also at a formal level.
2) The formal character drinks from many other artists including the aforementioned Chaplin. The school in which the creator of the project is trained in that of Jacques Lecoq, Paris, which affirms that the body is the poetic tool to create art.
3)Aesthetic tools, marketing and others for the creation of a coherent product
The company, to this day, dedicates itself, among many other tasks, to training other artists in the creation of pieces and companies that are committed to issues that affect humanity. He directs, advises and accompanies other artists in similar searches.
The challenge is to know a small drop in an immense sea of hate speech, racism, exclusion, exclusionary policies. The challenge is to remain committed to what we do through art. Since sometimes migrations generate conflicts in society whose solution should not be given through art. We believe that art is there to raise awareness, raise the voice, give visibility and generate dialogue.
