Alicia Soto-Leaf Litter

contemporary dance company

Alicia Soto-Hojarasca is a professional transdisciplinary contemporary dance and creation company with a long history, created in 1994, under the artistic and choreographic direction of Alicia Soto. Based in Castilla y León (Spain), it has had from its beginnings a great international projection throughout these three decades of existence. Portugal, France, Germany, China, Argentina, Mexico, Colombia, Japan, Turkey and various African countries (Morocco, Egypt, Tunisia, Senegal...) have been regular stops on its tours.

Both with its more than 35 shows and with its initiatives, talks and educational activities, the company has developed an essential work of dissemination of dance within and beyond our borders and among people of different class, sex, age or origin.

 

Research and constant evolution

In the DNA of the company, and of its director Alicia Soto, there is a constant search to take dance to different levels in each project and an ongoing research into artistic language, scenic elements (both aesthetic and content) and audience participation..

Alicia Soto's work moves freely between the genres of dance, theatre and visual arts, driven by an ongoing dialogue with artists from different disciplines. Through mutable fiction and layered narratives, she explores dance as a source of healing and a way to transform the social fabric.

It has developed dance-theatre pieces, shows for the street and non-conventional spaces, multimedia creations and visual documents on its own work processes and those of other international companies with which it has worked.

It was one of the first Spanish companies to introduce technology into its projects and to reflect on its relationship with movement and dance on stage.

Critics highlight that her creation is original and open about an encounter between dance and theatre, based on dramaturgy, often using multimedia and new technologies in a continuous search for the language of dance in creations based on transdisciplinarity.

 

More than 35 contemporary creations

Its projects include El perro Breu y su amigo Electrolux (1999), Entre Brazos (2002. Nominated to the Max Awards). Bloque C, Ángeles Caídos buscan subir al Cielo (2003. Nominated to the Max Awards), La mujer de la sinmemoria (2005), Desea (2007. Nominated to the Max Awards) In vino veritas (2008), skinSITEs” vers. XI and XIII (2008 and 2009. In collaboration with Post Theater [New York / Berlin / Tokyo]), Super Gravity - Zero Gravity (2009. Coproduction with the Post Theater Company [New York / Berlín/ Tokyo]) La Petit Voiture-la Comtesse (2010), the triptych Cartografía del Cuerpo en un espacio arquitectónico (2014-2016. (2014-2016. Desconcierto, Estudio 1: Nocturno, Estudio 2: Silencio, winner of the Estacion Norte Award of the Tac Festival 2014,  and and Estudio 3: Miradas)), Regards (2017), 5X5, después del 19 (2020) The garden of the Hesperides (2020), Sublime Enfado (2022), La Petit Voiture 2.0 (2022), Human Landscapes (2024) and On Strings (2025).

 

Collaborations with festivals and major figures

On the other hand, Alicia Soto-Hojarasca has co-produced and collaborated at different times with festivals, fairs and national and international theatres such as Teatro Calderón (Valladolid, Spain); Teatro Principal de Burgos (Spain); Auditorio de León (Spain); Mercat de les Flors IDN Festival (Barcelona, Spain); International Street Theatre Festival TAC (Valladolid, Spain); International Festival Fitcarrer, (Vila-real, Spain); Lava, Laboratory of the Arts of Valladolid (Spain); Taggeles (Berlin, Germany), Cervantes Institute (Casablanca, Morocco); Ains Harrouda Cultural Centre (Casablanca, Morocco); International Festival Stage Dance (Shanghai, China); or the Center Culturelle de Djarama (Dakar, Senegal).

The company has always been a transdisciplinary meeting place for different artists with whom different synergies and collaborations have been established, both occasional and regular. These names include, among many others, the French writer Michel Houellebecq; the Moroccan director and actor Abdellah Chakiri; the choreographer Carmen Werner; the company Post Theater (New York, Berlin, Tokyo); Miguel Ángel Camacho, lighting designer; Joan Valent, orchestra conductor, composer and performer; Ángel Marcos, Photographer (www.angelmarcos.com); Masbedo, video creators (http://www.masbedo.org); and the set designer and costume designer Elisa Sanz.

 

Artistic Residencies

The company has pioneered artistic residencies in rural areas such as Sazamón in Burgos, Spain (1994-1998) and Serrada in Valladolid, Spain (2005-2014 / 2020-2025). In addition, the residency in Serrada established this pillar of Alicia Soto's project to create a link between the rural environment and artistic creation with the production of 9 of the most emblematic shows of her career.

It is also worth highlighting the implementation of projects for teenagers in various areas of Castilla y León (Spain) or her latest initiative in 2023 and 2024, Un paso adelante, a programme of activities for cultural revitalisation in non-urban areas of Castilla y León that brings contemporary dance to thousands of residents of the participating towns.

Since 2014, the company has been creating in artistic residencies internationally..

 

Throughout its career, the company has repeatedly enjoyed the support of entities and institutions such as AC/E, AECID, different Spanish embassies around the world and the Cervantes Institute (different venues).

The company is subsidised by INAEM, the Impulsa programme of the Junta de Castilla y León and is a resident company in Serrada (Valladolid, Spain).

Press reviews

Source: The advance of Segovia. Manuel Sesma. November 18, 2002

….“The bet, the risk and the commitment of Hojarasca Danza with this show well deserve attention. His vision of dance as a disturbing element must be taken into account as a contribution of great creative and cultural interest”…

Source: Region 7. November 2004

…A good vertical dance show that makes this axis of Mediterranean tradition reappear, yes, served with a contemporary conception and with a desire to address all audiences, including young people.

Source: The North of Castilla. September 27, 2005. EFE Agency

…Triumph in Cairo with a great ovation from the public.

Source: Artez Magazine. January 2006 by Khaled Salem (Cairo). Cairo International Experimental Theater Festival.

“Wonderful La Mujer de la Sinmemoria by the Hojarasca Danza de Burgos company, which filled the halls during its two performances despite the language barrier….

Source: The Advance of Salamanca. June 26, 2005. First International Festival of the Arts of CyL Salamanca.

No one was left indifferent... it surprised, and a lot,... Hojarasca's proposal was quite separated from the traditional canons of dance... In La Mujer de la Sinmemoria she combined dance with image, sound and word..., through her shamelessly innovative and groundbreaking choreographies, its capacity for the communion of different artistic formats...

Source: Valladolid newspaper “Hatred and despair in the Mirror”. Carlos Toquero. 04-22-07

….” Leaf Storm is more courageous, and if it is more noticeable it is because it is difficult to manipulate a speech as clairvoyant as Houllebecq. In addition, Desire surpasses all stage works that have been carried out in this Community in recent times, and can rub shoulders with great European dance works......

Source: Le Figaro. November 2008. Paris

…The Alicia Soto-Hojarasca company left a fabulous taste in the mouth with the show “In Vino Veritas” to a large audience, resoundingly pleasant and with great palates.

Source: ABC of Seville. Julia Amezua. June 02, 2008

"Extraordinary Show" The opening scene of the farmer with the appearance of Bacchus, who connects to the four drippers, while the heart beats with force, is extraordinary... it is a cohesive show, with rhythm and communicates an enormous tide of sensations, an enjoyment for the senses.

Source: Fernando Herrero. Northern Castile. January 24, 2010 “2 or 3 questions”

“Attention Points” Alicia Soto and Hojarasca dance are always looking for new aesthetics, different experiences. It is also remarkable the contrast with the projected figures, which sometimes appear images from Bosch. Extraordinary the one that closes the show...

Source: Julio Castro – laRepúblicaCultural.es Published on Saturday, December 18, 2010

Alicia Soto seeks innovation, new challenges at different levels of art. A surprising, imaginative work, very parallel and balanced between the scene and the projection, but above all, between the concept of the structures of her image and the message she transmits at every moment and each format of your work. Yes, it really is different.

Source: By Isaac Macho, 2014 The Synod of Silence Tam-Tam Press / May 25, 2014

Crazy chronicle about the original show by Alicia Soto-Hojarasca in the cloister of the Colegio de San Gregorio National Museum, which combines the architecture of the place, banda music and contemporary dance... The protagonists offer the most brilliant moments of the act creating an intimate relationship between the body, the architectural space and the spectators…..”

Source: Cristina de Lucas, academic of the performing arts and critic of the London magazine Bachtrack. Published in the AAEE magazine number, March 2021 page 58-60.

The subtle narrative thread that sustains the work builds a story of liberation that alternates rage and serenity, challenge and despair, sensuality and anguish. Despite the powerful dramatic charge, the general tone is not emphatic, complaining or violent, but rather introspective and even hopeful at times. (...) The choreography created by Soto as a vehicle for such deep and suggestive reflection includes powerful images and symbols. Raised fists sometimes hint at a desire for revenge, sometimes suggest impotence, and sometimes visualize inner turmoil.

Source: Cristica by Coral López for Danza en Escena Magazine. October 2024.

"In this work that the Alicia Soto-Hojarasca Company has given us on her 30th birthday, not a single emotion, quality, vice or defect of the human being is missing. Pieces of the soul with a common thread, a gigantic fabric that has been carefully chosen by its stage and costume designer: Elisa Sanz, already consolidated in the art of fulfilling and maintaining dreams and realities. This immense curtain sometimes shelters and shelters, other times it is scars of life that we drag with hidden feelings or proclaimed to the four winds. In each scene, desire, hope, disappointment, violence are shown and although Alicia and the dramaturgy team - with Dina Figueiredo, Julio Martín Da Fonseca and Alicia herself - have put a lot of effort into treating the scenes in a very poetic way, it is sometimes difficult to keep your eyes on the dancers without getting disturbed and cringing during the violent scenes, where the dark side of the human being is starkly shown. Life as a journey, an allegory of the sails with the fabrics, crossing the river Styx, when Charon or the sea awaits us, when a better life or death awaits us. The inevitable death sometimes in life due to loneliness, other times due to hopelessness. Libido, passion, pain, violence, harassment, love, sex… A cyclone of emotions and pain that is not revealed, a silent cry and a constant reference to water, to rain, reminds us that we are water... and that we are immersed in a sea of emotions and feelings. We pursue the unattainable, and where the dancers support each other to achieve their desires. All this and much more is Human Landscapes.

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