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iamthere foto.jpg
a composition by Pere Jou and Aurora Bauzà

Identity as 

a process

a becoming

a constant flow of images creating movement

a memory in the mirror

an illusion of the future

a carrot at the end of a stick

a melting ice cream becoming something different to the image on the wrap

a prison

opposed to the present

a dramaturgy of the existence.



I AM (T)HERE is an investigation project about the relation between voice and body. Our will to detach ourselves from the classical music tradition in which the body is always depending on the voice, has lead us to explore new ways of interaction between them and to develop our own language that not only applies in a formal research but also creates new semantic horizons. With the idea of “identity as a process” as a background to our research, I AM (T)HERE incarnates a body caught in between two different dynamics: voice and movement. Both dynamics travel in opposed directions creating a body in tension, a subject in conflict with its own identity.   


Identity, despite its vague and ambivalence nature, is a key concept to understand individual and social evolution in present times of increasing uncertainty and loss of social meaning

(Z. Bauman)


Project's aproach

I AM (T)HERE is an artistic research project that combines two different lines of work, one conceptual and the other formal. 


The conceptual background of our project focuses on the processes of identity construction and, above all, on a certain vision of the idea of identity, understood as a process in constant development.  Our investigation is based on the consideration that change is inherent to all things and is inevitable. What we are - our identity- isn't a fixed idea or image, but a constant transformation. We are a movint object, a body in constant transformation. Nevertheless, the prevailing tendency is to define ourselves through fixed concepts and ideas, we become obsessed with questions like “who am I” and we try to find permanent answers to such questions. We hold on to these believes with stubbornness and that gives rise to a slow and constant battle between the ever-changing and unpredictable reality and our fixed ideas and believes about what and who we are. A conflict between the individual and his environment, at the center of which we find identity. 


On a formal level, I AM (T)HERE investigates the relation between body and voice. Human voice has been always a key element in our research since it works as a link between sound and body. This idea articulates also our discourse: voice can be the driving force that moves the body. At the same time, body acts as a  medium that allows the use of the voice, and as such has been historically used in classical music and specifically in lyrical singing. The use of the body in classical music is a discipline that has been refined over the centuries in order to achieve maximum musical quality with minimum effort and pain for the body. Regarding gestures and body language, classical music tradition has chosen a research based on utility, efficiency and profitability of every single movement. This has result in a aesthetic of efficiency as an unintended but confortable consequence. Clearly the role of the body in the classical music tradition has been always dependent to the expressive demands of the musical discourse. Our will to detach ourselves from this traditional role in which the body is always depending on the voice has lead us to explore new ways of interaction between them and to develop our own language that not only applies in a formal research but also creates new semantic horizons. While constantly singing a repetitive melody, body travels seeking its own movement, a movement that will emancipate it of its voice-supporting physical role. I AM (T)HERE shows a body trapped between two forces (voice and movement) that evolve in opposite directions, creating  a stressed subject engaged in conflict with its own identity. 

Mechanism of the project

The starting point of our research is the voice. Using the distinctive lyrical voice of Pere Jou, countertenor and performer, we have composed a score that moves between electronic music and contemporary opera. It is based on the constant repetition of a single note, sung by the countertenor with an electronic music rhythm. Parallel to this vocal layer we have built a quality of movement that offers a formal and semantic counterpoint, a quality with an expanded temporality: while repeating a vocal melody, the body travels towards its emancipation creating a unique movement detached from the voice. This way movement and voice develop two different dynamics that intersect in the same body.

Using variation in the repetition, the body experiences a conflict born from the opposite directions of movement and voice. Variation, actually, is one of the most important composing tools in music history, and isn't the only musical parameter that has equivalency in the coreographic language. That's why our work methodology plays between musical and coreographic equivalencies. 

Variation needs to be understand as a progressive and sometimes imperceptible modification of the original idea. Nevertheless, variation is constant and inevitable, as if it was the reflection of our vital process of constant change. From this game of repetition with variation we focus on the idea of constant change, that allows us to understand that identity has also a procedural quality: we will stop conceiving ourselves as a fixed image or idea to live ourselves as a development, as an unstoppable flow, as a succession of present forms, as a continuous movement. 


I AM (T)HERE is a research on the liquid and ephemeral nature of identity. An individual and collective identity; an identity based on body, on gender, on territory; based on social, ethical and genetic load. All these layers creating a unique and at the same time a generic subject. We want to use the body as a channel streaming all variations of the self. We conceive the body as a blank page, as a tool to manifest that identity is a constantly moving image.

The body of Pere Jou experiences this identity contradictions accompanied by Aurora Bauzà, who manages and guides the performer through her live electronic music interpretation. This settles a connection between an external agent (Bauzà) that guides the process of the performer (Jou), adding another layer of meaning over the relationship/conflict between the individual and his environment. 

Captura de pantalla 2019-01-21 a las 13.


As we have already exposed, our research revolves around the relation between voice and body movement, and how through this relation can be revisited the conflict of the individual when confronted with the idea of an identity in constant change. Also has been described the mechanism we have developed in the past year of research: the constant repetition of a single note produced by the voice, and the superposition of a movement that emancipates the body from its role of voice-maker. We believe that this mechanism is the beginning of a personal language that allows us to build our own semantics within the relation between voice and body. A transversal language that doesn't create a hierarchy among artistic disciplines such as movement and sound. Developing this personal language that allows us to equally relate voice and movement has become the main goal  of our research.


Moreover it is also our aim to dig deeper in the mechanisms of identity construction, not only individual but also collective. Our research can be expressed not only through I AM (T)HERE, but also can be projected beyond this work. We believe that the mechanism we have planned is very promising when performed with a group of people, and that's why once we have premiered and finished the piece we have the idea of carry on our work with WE ARE (T)HERE, a project/piece/workshop in which our mechanism can be executed.  We had the opportunity to work with this idea in various occasions: with the workgroup Brut Nature, in La Caldera Barcelona and in some of the meetings of the #FF90 collective. All occasions the result has been very promising, that's why one of our objectives is to explore this line of work and remain open to whatever it can offer to us.




I AM (T)HERE is an investigation structured in two different lines of work: on one hand, it is based on the mechanisms of identity construction and the conflict resulting when considered a process.  On the other hand, our investigation is proposed as the research of a new language that can associate voice and body on equal conditions, distancing itself of the classical music tradition that we have inherited as musicians.  

The combination of this two lines is reflected in a work about the liquid and ephemeral nature of identity through a divided body, trapped between two forces that evolve in different directions: voice and body movement. A subject that embodies  the resulting conflict between perception and reality in the process of identity construction. An identity based on the body, the gender, the territory. On the social, ethic and genetic burden that we carry, as multiple overlapped dimensions that formed a unique and also generic subject. The body becomes then the vehicle that channels all the variations of the self, and it is conceived as a work tool to to display the idea of identity as an image in constant movement.

Lastly, as we have already mentioned in our goals, from our work has emerged a new research line for its future development: the enlargement of the project to a group of performers. The idea is based in a very simple, though very powerful mechanism. The fact that there is a group of people constantly singing together a single note  and at the same time moving without apparent connection between them creates a very poetic and powerful image. To us this image refers to the loneliness in company, to the collective and individual identities and to the construction processes of them. It refers to historical and contemporary politics, to religions or maybe just to the needs that people have to find common places. We are very satisfied to check that this work doesn't need of vocal formed performers. Although I AM (T)HERE draws from  a formed voice of a countertenor, WE ARE (T)HERE doesn't need this vocal virtuosity since the group ensures the continuity of the vocal sound without reaching the performers extenuation. We also want to point out our believe that it is a very interesting material in pedagogical environments since it allows to work on body/vocal conscience, concentration abilities and a collective identity created by collective experience of a state of trance. 

We therefore haven't yet defined how will this follow-up of our research crystalize but we see as more than likely that it becomes a group piece, a pedagogic material, a basis on which make some research on voice and body relation, or altogether. 



The primarily intuition of this piece is very much influenced by the work of the people we have been working with. Specially, we want to put the emphasis on the piece Nowhere in Particular by Sonia Gómez, David Climent and Pere Jou, where we have been able to work with the voice as a generator of movement and as a key element on choreographical composition. Also we want to mention Alessandro Sciarrioni’s work. He is currently helping us by sharing with us his look over dramaturgic and choreographic construction of the piece. At the same time we have worked in his recent pieces Turning_Orlando and Save the last dance or me as composers. His work based on few elements and the use of repetition is a perspective that we feel really closed to. 


Right now we are at the last stage of this creation. We are currently in conversation wit Festival Grec in order to premiere our piece in their 2020's edition. With the help from Marche Teatro (Italy), Graner Barcelona and La Lleialtat Santsenca we have been able to develop this creation. Also some sharings have been made such as Festival Off Liceu – Diàlegs musicals 2019 At the same time we were one of the finalist companies chosen by Festival Escena Poblenou to present their work within their Embrions' section, although it coudn't be performed due to general strike on 18th October. 





Performer: Pere Jou

Creation and direction: Aurora Bauzà i Pere Jou

Musical composition: Aurora Bauzà i Pere Jou


Scenic and light design: to be defined

External eye: Alessandro Sciarroni 

Duration: 30'

In collaboration and supported by

Villa Nappi (Italy), Graner Barcelona, Festival OFF Liceu 2019 and La Lleialtat Santsenca.



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  • New creation (2021) with MAUD LE PLADEC.  Perfomer

  • The black body, the blue mind and the fluorescent guts (2020), SONIA GÓMEZ. Perfomer

  • Turning Matera (2019), ALESSANDRO SCIARRONI. Composer

  • Àngels a Amèrica (2018) DAVID SELVAS. Director musical

  • Augusto (2018), ALESSANDRO SCIARRONI. Performer

  • Nowhere in Particular (2018), SONIA GÓMEZ, DAVID CLIMENT I PERE JOU. Co-creator, Perfomer and  Composer

  • Her (2018), ÍRIA LLENA. Composer

  • La importància de ser Frank (2018) DAVID SELVAS. Director musical

  • Mol·leculari (2018), LIPI HERNÁNDEZ. Composer

  • Data (2018), LIPI HERNÁNDEZ. Composer and performer

  • Dancing with frogs (2017), SOL PICÓ CIA DE DANZA. Composer and perfomer

  • Apel·lació a la pedra (2017), SONIA GÓMEZ. Composer and perfomer

  • Halab (2017), SOL PICÓ CIA DE DANZA. Composer and perfomer

  • En construcción 2 (2016), AMALIA FERNÁNDEZ. Perfomer

  • Tata mala (2016), ENRIC MONTEFUSCO. Perfomer

  • Bachelor in Music, specialty Lyiric sing (countertenor), Conservatori Superior de Música del Liceu, Barcelona. 2013 - 2017  

  • Master in Music as interdisciplinary art, Universitat de Barcelona, Escola Superior de Música de Catalunya, Universitat Rovira i Virgili. 2011 - 2012

  • Bachelor in Audiovisual Comunication, Universitat Ramon Llull. 2006 - 2010

  • Bachelor in Sociologiy, Universitat de Barcelona, Freie Universität Berlin, University of California (Berkeley). 2004 - 2008

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  • Save the last dance for me (2019), ALESSANDRO SCIARRONI. Composer

  • Aquella nit (2019), DAVID SELVAS, Composer and performer

  • Jellyfish (2019), ANA BORROSA. Composer

  • Vigor Mortis (2019), ASUN NOALES. Composer

  • Nightingale (2019), ANA BORROSA. Composer

  • Turning Matera (2019), ALESSANDRO SCIARRONI. Composer

  • Àngels a Amèrica (2018) DAVID SELVAS. Directora musical

  • Pla-dur (2018) ATZUR. Composer

  • Nowhere in Particular (2018), SONIA GÓMEZ, DAVID CLIMENT I PERE JOU. Composer

  • Ave Maria (2018). LIPI HERNÁNDEZ. Composer

  • Her (2018),ÍRIA LLENA. Composer

  • La importància de ser Frank (2018) DAVID SELVAS. Directora musical

  • Mol·leculari (2018), LIPI HERNÁNDEZ. Composer

  • Data (2018), LIPI HERNÁNDEZ. Composer

  • Master in Music as interdisciplinari art, Universitat de Barcelona, Escola Superior de Música de Catalunya, Universitat Rovira i Virgili. 2011 - 2012

  • Bachelor in Musicology, Universidad de Granada, Freie Universität Berlin. 2009 - 2014

  • Bachelor in Music, specialty Piano, Conservatori Superior de Música de les Illes Balears. 2005 - 2009



T. 646861164 (AURORA) / 696057303 (PERE)

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