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Ay ik marag (¡Oh! A ti, el huésped)
Ay ik marag (Oh! To you, the guest) delves into the world of the Amazigh island and the strategic position of the Canary Islands in the Atlantic, a traumatic and symbolic gateway to Western modernity. The project proposes the construction of an immersive performance space to challenge hegemonic narratives and promote the reclamation of Guanche knowledge and practices, some of which are now silenced. An evocative space brimming with indigenous, African, European, and non-Western fusions.
All dates
Ay ik marag (¡Oh! A ti, el huésped)
Ay ik marag (Oh! To you, the guest) delves into the world of the Amazigh island and the strategic position of the Canary Islands in the Atlantic, a traumatic and symbolic gateway to Western modernity. The project proposes the construction of an immersive performance space to challenge hegemonic narratives and promote the reclamation of Guanche knowledge and practices, some of which are now silenced. An evocative space brimming with indigenous, African, European, and non-Western fusions.
To paraphrase Epeli Hau'ofa in Our Sea of Islands, the Canary Islands emerge from the depths of salt water and even deeper regions of fire. A succession of mountains between the waters, they were inhabited by the Amazigh people as the first settlers before the world experienced fragmentation as a mental state imposed by the colonial enterprise. The once fortunate Macaronesian islands, rich in endemic species, now bear an open colonial wound, intertwined and shared with southern Spain, the Americas (especially the Caribbean), and Africa.
"Thinking about the Canary Islands has never been an easy task." For this reason, Ay ik marag is the result of an experimental and collaborative research journey that uses the interconnected spaces of Atlantic music and dance as a mechanism for emancipation, healing, and resilience. Situated within decolonial theories and ecological critique, it draws its roots from the magical-spiritual world of Guanche rites, Hispanic sones, Afro-Andalusian Caribbean traditions, and Canarian folklore.
©Demian Ortiz
©Lorenzo Carnero
Raúl Cantizano
Raúl Cantizano is a flamenco guitarist who fuses genres such as ambient, rock, and experimental flamenco. He has worked with innovative contemporary flamenco artists, including Niño de Elche, Rocío Márquez, and Andrés Marín. His avant-garde approach has led him to collaborate with renowned musicians and choreographers across multiple disciplines. With an international career in projects that push the boundaries of flamenco, Cantizano remains a key figure in the evolution of flamenco music.
Yinka Esi Tombs
British dancer and choreographer Yinka Esi Graves fuses flamenco with contemporary forms from an Afrodiasporic perspective. Her work, The Disancing Act, premiered at the Nîmes Flamenco Festival (2023) and has toured major international festivals. She is currently developing new projects for 2025-2026, where she will continue to explore the cultural connections between flamenco and contemporary dance, with a focus on the African diaspora.
Alicia Navarro
Curator and independent researcher Alicia Navarro collaborates on R&D projects commissioned by the CSIC. Her work focuses on dance studies and contemporary artistic practices, exploring decentered narratives that challenge hegemonic Western frameworks. Her curatorial work stands out, such as Négritude: les mémoires frontière du flamenco (2023), and her scientific advisory work on projects like Je vous laisse la profondeur de Leonor Serrano Rivas (2024). She has worked in institutions such as the Picasso Museum in Málaga and the Flamenco Art Biennial, fostering critical dialogues between dance, art, and marginalized identities.
PERRATE
A descendant of a flamenco dynasty, Perrate (Tomás de Perrate) began his flamenco career relatively late, at the age of 35, after working as a hairdresser. He has collaborated with renowned artists such as Israel Galván, Belén Maya, and Ana Morales, and has released several albums, including Perraterías (2005), Infundio (2010), and Tres Hits (2022). His music, rooted in tradition and his family's experimentation with flamenco, has garnered acclaim from both audiences and critics. In 2024, he will release Jolifanto, an album that continues his personal exploration of flamenco.
©Sandy Korzekwa
Practical information
Address
Auditorium Eduardo Ocón, Paseo de España, Málaga
Accessibility
Dates and times
Friday, November 8th, 8:30 PM to 9:30 PM
Safety
ADDITIONAL INFORMATION
EXPERIENCES On board
Immersive exhibition "Présentes
Created with the exceptional collaboration of the Musée du Louvre, this exhibition highlights female figures in Mediterranean civilization, thanks to the digitization and modeling of part of the Louvre's collections. A two-stage experience: an introductory film to provide context, followed by an immersive experience in a 16-meter-long tunnel covered by 120 m2 of LED screens.
A sound journey through the Mediterranean
An immersive sound experience designed by Ircam, inviting the public to explore the richness and diversity of the Mediterranean through headphones equipped with spatialized sound.
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© Elisa Von Brockdorff
The artists
Frequently asked questions
Yes, the boat is freely accessible on site. However, you can pre-book your time online on our website.
For reasons of safety and preservation of the boat, high heels and stilettos may not be worn on the boat.
The museum boat is open to all free of charge. To find out on which quay it will be moored, or to pre-book your slot, consult the page dedicated to your town.
Appropriate facilities have been set up on the Festival site for the reception and access of people with reduced mobility. The boat is equipped with a 1m-wide ramp, accessible to people with reduced mobility, but may require the accompaniment of a third party due to its gradient of over 6%. Access to the aft deck and immersive exhibition is possible. However, the upper deck is not accessible. Please inform us in advance of any special accessibility requirements, so that we can make the necessary arrangements.