The choreography “It was a very abstract thing” arose from the will to challenge the strange world of abstraction – whatever that may be, or whatever it is we may want to abstract – restraining the drive of wanting to say something, in order to plunge into an expressive abnegation of sorts. Building on the assumption that movement itself contains ideas, we sought to create a language whose meanings and significants only last for the duration of the moment in which they are created. We began at the “starting line” and progressed as a flux that must come from behind in order to move forward, in search of movements that reveal themselves as thoughts, but not allowing themselves to be fully understood, but giving the piece a narrative feeling. The music, as “abstract matter”, shapes this feeling and tosses it into continuity, acting upon this created reality as a transfiguring spirit that opens and guides the various possibilities of interpretation, in the very moment of building the present. This unspoken speech has the pretension of being beautiful because all formality must chase beauty and all that exists just for a moment has the delicacy of its own transience.
I first met João Lucas and Miguel Mira in a small apartment on
the outskirts of Lisbon. It was crowded with friends who were gathered
for the sole purpose of hearing them play. What surprised me most was
that, regardless of the totally informal setting, composed of endless
background chatter and a densely congested and smoke-filled room, both
musicians seemed completely submerged in their musical dialogue, oblivious
of any outside disturbance. For the greater part of the present decade,
I have had the privilege of observing this almost autistic concentration
of theirs blossom into one of the most consistent musical partnerships
of the local music scene, frequently inviting many other musicians to
intermittently inhabit their inner circle.
Lisbon, May 2009