Human knowledge of movement is almost as primitive as our discernment of color. However, to the movement that represents and expresses feelings, no importance is given. Culture has not taught us to perceive it in this way. Therefore, our ability to think about it is almost nil. This insolvency prevents us from assuming that there is as much harmony in movement as in music and color.

Movement, without a doubt, expresses the best connection between poetry and dance. The former is as choreographic as the latter. Both are united by the same eternal search for ethical harmony. In both, form and meaning are fundamental. They constitute, without a doubt, the physical instruments that both poetry and dance need in their hand in hand journey towards transcendence.

Poets, musicians, choreographers and choreographers, united by the same aura of transmutation, work with their ideas, concepts, experiences or feelings from a trance of tonalities that facilitates the conception of their messages as images in movement, dancing from words, with words and between words. In this process, music, even when its base is silence, stands as a fabulous bridge that mediates between dance and poetry.

We dance and write because we are beings made in the image and beat of rhythm, our own, which is nothing more than the echo and the memory of another, more elusive, more impenetrable, as is the very creation of the universe. This Bachelardian cosmos, where the house is our corner of the world and our first creation, is built with objective paradigms, which require some questions: How is a verse translated into a choreographic phrasing? Is there a possible linearity? How does the word participate in the construction of the choreographic imaginary and makes it possible for a movement to become an aesthetic bet committed to the world?