You might have seen Candela Capitán in one of the many videos that roam the Internet. Or you might have been blown away by her numerous stories on Instagram. But one thing is clear: if you haven’t seen Candela Capitán performing live, you haven’t actually seen anything at all. Because the Internet is the medium in which new artists like herself make themselves known, but online you won’t be able to feel what this girl from Cadiz does to your body with her choreographies when you’re enjoying them up close. Candela stars in the audiovisual piece that we have created with Querida studio for the launch of the next Sobakov Boost x SVD de adidas Consortium.

Let’s start, however, from the beginning: Candela Capitán was born in Cádiz but is currently living in Barcelona, which has been the city / launch pad from which she has propelled her vision of what contemporary dance should look like. And what in this case a place for dialogue with the audience should look like, which she usually pushes the limit through the dancer’s body, her dance and her relationship with the space. Best of all: Candela Capitán’s vision isn’t endogamic when it comes to solely the world of dance, as she forces a very needed opening to other neighbouring artistic areas. That might be why the world of fashion has fallen head over heels for her proposal.

And this might be why, joined by Mans O and the poet Alejandra Smits, Candela Capitán is starring in the audiovisual piece with which Sivasdescalzo has celebrated the launch of adidas Consortium’s Sobakov Boost x SVD sneaker. Let’s take advantage of the fact that we know her to dig even deeper into her fascinating artistic vision.

What is the first memory that you have of dancing in an organic (and not professional) way?

As a little girl, I loved to put on shows in all of my parents’ friends’ luncheons. I’d love to dance to Maria Isabel by Los Payos and sing La Tómbola by Marisol.

Is it hard to make a name for yourself in the Spanish dance scene and being able to earn a decent living from it?

It’s really hard.  In Spain, people don't watch dance pieces.There are so many people who have never gone to the theatre to see dance. This is why not much money is invested in it… There are only a few companies who are surviving here. In Barcelona, there’s more of that culture, but it’s still really hard to make stuff happen.

We only have to take a moment to see you dance to realise that what you do goes beyond traditional dance, and it builds bridges with thousands of other artistic areas. Why is it so important to you to dance to become something that is transversal?

I love art in general. My work, more than in dancing, is based on working with the body in different artistic disciplines. I don’t like to think that I have limits when it comes to creating for the result to be a dance piece, a performance, fashion, photography or q sculpture, as I like working with the body and, from there, making everything that ever crosses my mind a reality. Other than that, I believe that it’s really interesting to collaborate with many different artists that you constantly learn from. I don’t think that it’s useful to learn from just one artistic branch.

Something that is very clear in your dance is that you play in a really brave way with the space. Even with the audience’s space. Do you think that dance acquires new values when you get out of the traditional stage?

Yes, I like playing with different spaces to create the necessary atmosphere for the show, and also playing with the way in which the audience will receive the piece. It’s not the same to see a naked body up close or from afar. If the performance has more interpreters in movement and I play with the space, we will have to put the audience even further away. If we’re interested in seeing gestures or specific parts of the body, the audience will have to be closer. If the performance is claustrophobic, you’ll have to think of the way the audience will better receive that claustrophobia.

And there’s something more to your dance vision: the extreme. Taking yourself, your body, the space and the choreography to the extreme. Right?

Yes, even though I think that we all like extremes. In different ways, but still. My last two performances, The Death at the Club and Mantis, Three Hours of Coffin (which could be seen in the last edition of the Loom festival) play with very different ways of pushing the body to the limit. The Death at the Club pushes the body to the limit through the repetition of a series of movements that are repeated for 45 minutes: playing with the different states that the body goes through referring to the states through which us young people go through on a night out, drugs and sex. When we act as if life were indifferent to us and when we explore the dark sides of individualism of our current society. In Mantis, Three Hours of Coffin, the way of taking the body to the extreme is totally different; here, containment takes precedent. My body is limited for three hours in a very small and closed space, naked with 25 insects on top of it.

What was the experience of working on adidas’ video for Sivasdescalzo like?

Great. As I said before, I love working with different artists, especially if they are Mans O and Alejandra Smits. A perfect group.

What have you specifically explored in this video through dance?

I’m now working on Mans O’s new concert, in which I’ll be the dancer. I love his music, and this time I’ve gone in depth with the layers of sound he has used for this composition, trying to transcribe them to movement.