Vagón
2025
Marlyn Attie, Mauro Colombo, Fernando Hurtado
Director of Photography
Andrés González
Dancers
Marlyn Attie, Carolina Figueiredo, Fernando Hurtado, Stephanie Lee, Ida María, Adrian Morales, Jaime Ruíz
It uses an original train car and tracks as its setting—those that carried thousands of people to concentration and extermination camps during the Holocaust. This work seeks to evoke not only the memories of that tragic moment but also the emotions, uncertainty, and fear that many felt before and during their arrival. A video dance project created for the exhibition Guardians of History at the Museum of Freedom in Panama.
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8 a 5
2022
Marlyn Attie
Director of Photography
Acá es Visual (Maria F. Perez)
Sound
Marlyn Attie
Costume
Mimi Vamvas
Production
Bid Lab, Fundación Espacio Creativo, Star 5
Dancers
Carolina Figueiredo, Paulina León, Carla Lozano, Joameth Manzane, Ida María, Adrian Morales
We reflect on the transformation of the work environment since the outbreak of COVID-19. We encounter five bodies that have redefined work realities and proposed a hybrid normality, exploring the empty office space of the Panamanian advertising agency Star5.
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Ideas Sobre Blanco
2022
Marlyn Attie
Director of Photography
Acá es Visual (Maria F. Perez)
Sound
Luis Lasso
Costume
Mimi Vamvas
Dancers
Carolina Figueiredo, Paulina León, Carla Lozano, Joameth Manzane, Ida María, Adrian Morales
Production
Bid Lab, Fundación Espacio Creativo, Star 5
We reflect on the transformation of the work environment since the outbreak of COVID-19. We encounter five bodies that have redefined work realities and proposed a hybrid normality, exploring the empty office space of the Panamanian advertising agency Star5.
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Variedades
2021
Marlyn Attie
Director of Photography
Mauro Colombo, Andres Gonzalez
Sound
Lilo Sánchez
Costume
Marlyn Attie, Carla Morely
Dancers
Adrián Morales, Joameth Manzane, Ida Obediente, Jaime Ruiz, Jonathan Valdivieso
Production
Bid Lab, Fundación Espacio Creativo, Casco Development
Five bodies explore the ruins of an abandoned theater. In the heart of Latin America, the Teatro Variedades was a cultural gem of the early 20th century. Today, it hides its decay behind a street that few pass through in Panama City. This video dance project is a critique of the current cultural detachment, social and identity marginalization, and how it impacts us collectively.
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Escenario
2021
Marlyn Attie
Director of Photography
Mauro Colombo
Sound
Davide Fiorentini
Costume
Marlyn Attie, Analida Galindo, Carla Morely
Dancers
Adrián Morales, Joameth Manzane, Jaime Ruiz, Jonathan Valdivieso
Production
Marlyn Attie, Analida Galindo, Carla Morely, Ciudad del Saber
A video dance project that reflects on the cancellation of performance spaces during the pandemic. Both literally and figuratively, the stages were unavailable, which inspired working in the seating area where the audience normally takes a passive role. This reflection led to exploring the dynamics between the audience and the performer, delving into the transformation of the spectator who enters an empty theater and becomes the main character.
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Memorias de Casa
2021
Marlyn Attie
Director of Photography
Jonathan Harker, Raphael Salazar
Sound
David Colindres
Costume
Marlyn Attie, Carla Morely
Dancers
Paulina León, Jonathan Valdivieso
Production
Carla Morely
Memorias de Casa is an interdisciplinary collaboration that seeks to delve into the dynamics of families whose bodies did not experience social distancing during this global pandemic. We had the opportunity to travel across Panama City, from end to end, to portray 16 families who allowed us into the intimacy of their beds and let us witness how their bodies settle in an organic, natural, and familiar way, as a result of sharing constant spaces over a long period of time.
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Cenit & Nadir
2021
Marlyn Attie
Director of Photography
Raphael Salazar
Sound
Ingmar Herrera
Costume
Lital Btesh, Marlyn Attie
Dancers
Adrián Morales, Emily Orillac
Production
Marlyn Attie, Analida Galindo, Alegre Saporta
As we move through the cracks of Sarigua, it becomes inevitable to walk through our own personal histories, where there are also scars of what we once were and no longer are, and of the relationships we had and lost. That land, believed to be dead, simultaneously pulses with the potential of what it could become.
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