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astrological cartographies and related compositions  

Compositional-choreographic procedure that uses elements, systems and cultural text used in contemporary astrology as triggers and guide to the creative process in dance.


Choreographic here is understood as the structuring of a scenic game established in the relationships between factors of stability and instability on which the dancer moves and makes decisions. In other words, structures open to improvisation and composition in real time.


In such a procedure, astrology is not used as an "end", nor as a theme (representations of astrological themes are not sought). In astrological charts or specific configurations between "planets", "houses", "signs", "aspects" we seek starting points for the creative process of the artists, with the language and technical resources that they master and, at the same time, we return to maps and settings continuously to check the structural (compositional) coherence of all material that is emerging.


An astrologer composes and translates the abstract representations of an astrological chart into words and stories, assuming that there are contained archetypal fields concerning the “composition” that a person is making of his life. Likewise, by the CHOREOASTRO procedure, dance creators are led to compose and translate these same fields into the language and resources of their art, but moved by the imaginative freedom they are capable of, rather than any commitment to psychological or therapeutic interpretation.

That method.


The privilege of imagining over the dancers' imagination.

One gives up the narcissistic purpose of "body expression", to expose oneself in a bodily experience. Poetics is the game that engages the dancer and the one who sees (who can be himself, playing someone else for himself).

Maybe I don't dance. Perhaps I try to write poetry in the context of this intense interest in the living and imaginative body. So the interest in images and relationships more than in movements. They are images equated with time. So they move, transform, echo, resonate, escape.

Above all, I am interested in the moment before things have a real, explained, contained word. The millimeter instant before it makes sense. He-who-sees may completes the speech of the mouth he sees on the scene. Although it is best to be in awe or silent delight (you can just feel the weight of the senses and enjoy it). I try not to care, without lacking in respect. Not even with curiosity. Not even with doubt. We are not going to take anyone out of the house without zeal for this, but let each one take responsibility for themselves and their senses!

Behind everything, I see (or suspect) relations of rhythms and volumes, which give me possibilities of space and time, weight, colors, moods, etc. And everything is tactile, as if it could be handled between caress and cut, between delicacy and rough, rough and smooth, heavy and light, etc. and etc.

Hugo Leonardo.

Penitentes Fair, 2018. Intervention. Artistic residencies with the Coletivo Lugar Comum, from Recife in 2016. Selected for the Mostra CultDance 2018, Brasilia ..

Dancing Myths, 2015. Performance. Teaser to the premiere of the piece created in the Archetypes project by Sandra Anais, Fičo Ballet, Slovenia.

Rebel, 2015. Video. Choreoastro in the Archetypes project by Sandra Anais, Fičo Ballet, Slovenia.

Dirty and Clean, 2015. Video. Choreoastro in the Archetypes project by Sandra Anais, Fičo Ballet, Slovenia.

Secrets of Hilde, 2015. Video. Choreoastro in the Archetypes project by Sandra Anais, Fičo Ballet, Slovenia.

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