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Ay i-k marag (¡Oh! A ti, el huésped)
Ay i-k marag (Oh! To you, the guest) plunges 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 activity proposes the construction of an immersive performance space to challenge hegemonic narratives and promote the recovery of Guanche knowledge and practices now partly silenced. An evocative space full of indigenous, African, European and non-Western fusions.
All dates
Ay i-k marag (¡Oh! A ti, el huésped)
Ay i-k marag (Oh! To you, the guest) plunges 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 activity proposes the construction of an immersive performance space to challenge hegemonic narratives and promote the recovery of Guanche knowledge and practices now partly silenced. An evocative space full of 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 that the Amazigh people inhabited as early settlers before the world experienced fragmentation as a mental state imposed by the colonial enterprise. The once-lucky Macaronesian islands, rich in endemic species, now have an open colonial wound, intertwined and shared with southern Spain, America (especially the Caribbean) and Africa.
"Thinking about the Canary Islands has never been an easy task." For this reason, Ay i-k 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. Grounded in decolonial theories and ecological critique, its roots lie in the magical-spiritual world of Guanche rites, Hispanic sones, Afro-Andalusian Caribbean 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 such as Niño de Elche, Rocío Márquez and Andrés Marín. His avant-garde approach has led him to collaborate with renowned musicians and choreographers in a wide range of 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 graves
British dancer and designer Yinka Esi Graves fuses flamenco with contemporary forms from an Afrodiaspora perspective. Her work The Disancing Act premiered at the Festival de Flamenco de Nîmes (2023) and has toured major international festivals. He is currently developing new projects for 2025-2026, where he will continue to explore the cultural links between flamenco and contemporary dance, with a focus on the African diaspora.
Alicia Navarro
An independent curator and researcher, Alicia Navarro collaborates on R&D research projects entrusted to CSIC. Her work focuses on dance studies and contemporary artistic practices, exploring decentered narratives that challenge Western hegemonic frameworks. His curatorial credits include Négritude: les mémoires frontalières du flamenco (2023) and scientific advice on projects such as Je vous laisse la profondeur by Leonor Serrano Rivas (2024). He has worked in institutions such as the Picasso Museum in Málaga and the Bienal d'Art Flamenco, proposing critical dialogues between dance, art and marginalized identities.
PERRATE
Descended from a flamenco dynasty, PERRATE (Tomás de Perrate) began his flamenco career late, at the age of 35, after working as a hairdresser. He has worked with such luminaries as Israel Galván, Belén Maya and Ana Morales, and released several albums, including Perraterías (2005), Infundio (2010) and Tres Hits (2022). His music, nourished by flamenco tradition and family experimentation, has been recognized by audiences and critics alike. 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 8, 8:30 pm to 9:30 pm
Safety
Visit itinerary
EXPERIENCES On board
Immersive exhibition "Présentes
Created in exceptional collaboration with the Musée du Louvre, this exhibition offers a reflection on the role and representation of female figures in the Mediterranean world, through an educational and sensory experience based on digital audiovisual technologies. The exhibition is divided into two parts:
- An educational documentary on the aft deck
- An immersive exhibition at the heart of the catamaran
A sound journey in the Mediterranean by Ircam
Through a Sound Odyssey, Ircam and Ircam Amplify invite visitors to explore the sensations of the Mediterranean and discover new soundscapes, both imaginary and real.
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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.