Recaer
2026‘El Arte de Caer’ de Diego Sinniger de Salas
Choreographic Adaptation
Intérpretes de COCO Compañía de Danza Contemporánea
Artistic Director
Marlyn Attie
Executive Producer
Analida Galindo
Assistant Directors
Ida María, Stephanie Lee
Performers
Adrián Morales, Carolina Figueiredo, Ida María, Jaime Ruiz, Marlyn Attie
Understudy
Ana Gabriela Garcia
Rehearsal Director
Stephanie Lee
Assistant Rehearsal Directors
Ana Gabriela Garcia, Rafa Caicedo
Production
Alison Quintero
Sound Composition
Jonathan Valdivieso
Lighting Design
Joey Walls
Assistant Lighting Designer
Alexa Casanova
Scenography
Cuarta Raíz, Andrea Villegas
Scenography Design Consultant
Maria Jose Arango
Costume Design
Javier Veleiro
Photography
Eduard Serra
A new creation by COCO Contemporary Dance Company inspired by The Art of Falling by Spanish choreographer Diego Sinniger.
The work explores the fragility of the body and of life, reminding us that falling is inevitable, but also profoundly human. Through movement, music, and an immersive visual language, RECAER invites us to inhabit those moments when we lose our balance, are transformed, and find the strength to begin again.
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El Arte de Caer
2025
Diego Sinniger
Sound
Diego Sinniger
Costume
Mimi Vamvas, Marlyn Attie
Scenic Design
Diego Sinniger
Duration
35 min
Festivals & Residencies
2025 Festival Prisma, Panama35 min
Festivals & Residencies
2025 Residencia Cuerpo Espacio, Panama
A fusion of parkour and contemporary dance, exploring risk as a point of departure, and resilience and surrender through movement. El Arte de Caer s a call to fall, to take a leap of faith, to step out of the comfort zone, to surpass oneself every day as a person or as an artist.
It understands falling not as a mistake, but as a language in itself — a dialogue between control and release. A single moment among the countless times we fall. And then what? The artists guide the audience through different sensations, inviting them to enjoy what we all love: dance. art. new beginnings.
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Gris
2025
Marlyn Attie
Sound
Jonathan Valdivieso
Lighting
Jhon León
Costume
Marlyn Attie
Scenic Design
Marlyn Attie
Duration
35 min
Gris emerges from a longing to recover what is disappearing—the grey zones where dialogue, ambiguity, and coexistence can still unfold. In a world shaped by algorithms and polarized beliefs, the work searches for spaces that resist certainty and reopen the possibility of meeting in between.
The choreography begins from the body: soft, permeable, and alive. Moving between control and surrender, it negotiates the thresholds between self and system, individuality and collective rhythm. The linoleum, activated by weight and momentum, becomes a shifting terrain—an unstable geography that mirrors the fluid nature of perception. Its movement generates amorphous landscapes, constantly forming and dissolving through the dancers’ impulses.
Gris exposes the invisible choreographies of the digital world—how systems mold emotion and pull us toward reaction rather than reflection. Through movement, it proposes resistance: a reawakening of the body’s capacity to feel, to listen, and to hold contradiction. Ultimately, Gris is an act of proximity—an attempt to move us closer again, toward complexity, nuance, and the fragile art of coexistence.
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2025 / 2021
Marlyn Attie
Sound
Ingmar Herrera
Duration
20 min
Festivals
2025 Festival Prisma, Panama
2021 Dance Bloc NYC Festival, New York
The piece revives, through dance, the memory of childhood games we used to share with friends in the schoolyard or on the street. Each movement is a wink to the child that still lives within us—to that simple joy of jumping, running, inventing, and laughing together.
On stage, the performers play with dance, with the audience, and with each other, inviting everyone to rediscover the complicity of play and the shared smile. The work becomes a playful space where the everyday transforms into choreography and the intimate becomes a collective celebration. This piece has been recognized by the Dance Bloc Festival in New York, United States.
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2023 / 2022
Yaniv Abraham
Sound
Yaniv Abraham
Lighting
Jhon León
Costume
Mimi Vamvas
Duration
45 min
Festivals
2023 Festival Prisma, Panama
It is not about a place, it is not about a time,
It is not about the past or the future,
It is not about what you have or what you don’t.
Emotion, feeling, sensations, memories, nostalgia, moments, moments, moments.
That is what you took with you… in your final moments.
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2023
Stephanie Lee
Sound
La Vaina Ambiental (Carlos Quirós, Jason Berger)
Duration
25 min
A piece that proposes a meditative journey led by four moving bodies. Contemplation and silence — not the silence that suppresses or silences, but one that, as a symbol with multiple dimensions, is explored. It opens the capacity for bodily listening itself, but also for listening to the other.
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2022
Sharon Fridman
Sound
Sharon Fridman
Lighting
Jhon Leó, Sharon Fridman
Costume
Mimi Vamvas
Duration
25 min
Festivals
2022 Festival Prisma, Panama
A co-production between Sharon Fridman (Spain) and Fundación Espacio Creativo (Panama) winner of the Iberescena Fund.
If I could get out of my head to understand the layers that make up the me of today... If I could retrace events, and articulate the journey of moments until I reached exactly the point that generated a crack in the architecture of my heart, there I would find the perfect BALANCE (Equilibrio) for just a moment.
- Sharon Fridman
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2022
Marlyn Attie
Sound
Marlyn Attie
Lighting
Jhon León
Costume
Jesín Palacios
Duration
30 min
Festivals
2025 Encuentro Nacional de Danza, Panamá
2023 Antwerp Spring Festival, Belgium
2023 Festival Diez, Panama
2022 Encuentro Nacional de Danza, Panama
ASH is a dance piece about the sublime moment when the soul is freed from the body at the time of death. It is not a painful depiction, but rather a composition filled with nuance that brings to the stage the soul’s ecstasy — an opportunity to deeply explore the vitality that lies beyond the apparent limits brought by death.
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2022
Marlyn Attie
Sound
Marlyn Attie
Lighting
Jhon León
Costume
Freeform
Duration
25 min
Festivals & Tours
2024 National Tour, Panama
2023 Antwerp Spring Festival, Belgium
2023 Festival Nerja Danza, Spain
2023 Comma Dance Festival, Netherlands
2023 Encuentro Nacional de Danza, Panama
How many layers cohabit and intersect to build that fabric that is our identity? 55 is a metaphor for our constant search for identity, to rediscover ourselves with what makes us feel Panamanian, human beings. The rhythms, the music, the cultural heritage, the territory, meeting point of nations. A set whose total is greater than the sum of its members. A search that more than answers, leads to new questions.
55 specifically refers to the tempo of the majority of the piece: 55 beats per minute. The work seeks to demonstrate the precision and quality of movement of the artists and how they intersect in the scenic space. The constant sound of the metronome opens the door to a hypnotic sensation, to a state of consciousness that allows us to feel the experiences that inhabit the bodies of the artists on stage. The piece also surprises with musical contrasts and rhythms typical of Panama.
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2020
Marlyn Attie
Sound
Ingmar Herrera
Lighting
Joseph Walls, Bridget Chervenka
Costume
Judy Attie, Isabelita Lewis, Marlyn Attie
Scenic Design
Fémur Arquitectura
Duration
47 min
Crush is an experiment in translating emotion into movement. The piece allows us to visit powerful, though fleeting, reactions: passion, frustration, desire, fantasy, attachment, affection, shame, anger — and it weaves them together in a disorderly way, just as they usually coexist. This piece almost compulsively unfolds the pursuit of getting close and connecting.
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2018
Marlyn Attie
Sound
Ingmar Herrera
Costume
Guillermo Montiel
Scenic Design
Johann Wolfschoon
Duration
40 min
Festivals & Tours
2021 Encuentro Nacional de Danza, Panama
2018 National Tour, Panama
Based on a journey through Panama, from Santa Ana to Cerro Ancón, accompanied by an audio recording of this eight-kilometer landscape. The city in question is recreated through the exploration that emerges between sound and its encounter with movement—or perhaps through a third city that could be born from the audience’s imagination, in the state of encountering the moving images as they come to life.
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