Mathis exposes his vision about "freedom" in modernity, where through movement and aesthetics the intention is seen to pose the modern loss of freedom and the repression of the wild through the figure of a bear. “When I was a little boy, I was dreaming of being a big and strong bear. That was also my career aspiration. And what did I become? A dancing bear. ”(Aerowaves.com) With the support of a dancing bear, the prevailing principles of" exploitation of one for the use and fun of another "are shown. A dancing bear is the inspiration for this principle, it is a creature that seeks to amuse others and serve the benefits of its "owner". His power, his desire for freedom and autonomy. Likewise, he makes use of ambiguous language with a constant duality between repression and debauchery.

The expressiveness and technique of this work create a particular language, which also provokes minimalist patterns, understanding them as those movements that do not use more than just the necessary energy. On the other hand, the work is manifested through the ordinary, since we can interpret situations and expressions of our daily lives, more specifically of the party moments we go through.

Regarding the mode of representation of "dance" in the staging, we can affirm that it is shown as an allegory of reality since, although it emphasizes daily action, these actions are a symbolic imitation of what is common in modernity. However, we also have the question and the reflection about "the common" in dance, and from there we start to develop a performance work where we take this slogan to explore what is common for us. Taking into account that the work is presented in a different geographical and cultural context, that idea of ​​"the common" would change if this work were presented in Colombia. For this reason, we take the basic idea and develop it from our experiences and interpretations of the work. And we come to issues that Mathis works on, such as being an adult and questioning ourselves about those "adult-centered" principles that force us to follow certain norms and behaviors within any society.

What is being an adult? How do you become an adult? What do you have to do to be considered and consider yourself an adult? These questions were key in the development of our research, since Mathis in the play shows us a universe where those barriers, within a staging context, are broken. What is contemporary dance? How is a contemporary dance work presented? What is considered a contemporary dance work today? Likewise, these questions and their respective relationships arose. We are surrounded by discourses and norms that tend to categorize all action into something specific. For example, certain adult-centered principles such as “having a good job”, “having a stable relationship” or “having studied a real career”, or the fact that Mathis gives himself so much freedom to inhabit the scene in such an everyday way, and likewise de-construct it with objects and actions that come out of the same representation to simply dance as he wants, with music that he likes, and in one way or another, go beyond the formalities to present said actions in an unconventional way and natural for him. Ultimately, "Grrr, I'm Dancing" is in a place where the limits of categorization are blurred, these categories being simply commercial. Likewise, the representations or readings that categorize an adult society, in this work, are blurred to show us something that is in their everyday nature.

We can perceive the work as a representation of the everyday and the non-everyday. It allows us to observe the reality of a modern society, a society where what is imposed by the institution is very present, where freedom is rooted in the service of the common good. We have multiple questions about what should be. The duty to be in adult life, having to meet standards and certain responsibilities. The duty to be in art, to be framed in a commercial system, in a market and in a society that demands marketable products that are original, unique, special but that are part of the definition of art of the moment. The must be in dance, bodies, skills, standards of beauty and expertise.

As performing artists in Colombia, how do we recognize and respond to what is happening in art in the rest of the world? How are we taking part in the transformations that are taking place in art every day?

In the first place, doing the work of recognizing and valuing the work of young creators is the main tool we have to be able to enter the universe of which in one way or another we seek to be part. For a long time we have refused to give value to what is not part of the traditional and western repertoire that, for most of our history, has set the tone in terms of the what and how of stage work. It is important that as artists we take steps towards the recognition of our own, of the liminal, of the non-traditional. It is from this place that we can find new paths for creation.

In addition to the task of seeing what is happening today, we must also look for the indigenous. With this, we are not referring exclusively to cultural heritage, we are talking about what has built us, what makes us who we are; Well, this is where the value of originality is. We need bases to build, we have to look for them, bases such as the techniques in which we train ourselves, but also what we are, our ancestors, our history. Our sources are not outside of us, imitating what does not belong to us will not lead us to the path of recognition. If what, as performing artists, we seek is to position Latin America and Colombia on the map of the international scene, what we must do is give value to what is in front of us and place it in context, recognize what is our own and what is foreign, and know where we fall into those categories.

Being a dancer today is no longer complying with a skills check-list. Dance is changing and what the world asks of us as artists is to be able to innovate, to surprise, to transform. More and more is being asked of us and we must find ways to be part of the change.