live works — Jesus de Vega

español

From the constellation of live works I have created, some have been truly meaningful in shaping the artist I am today. The following selection is not a complete record, but a reflection of works that have stayed with me — performances that, over time, have taught me, challenged me, and helped me develop a language across movement and sound.

Some are full pieces, some studies, some were one-offs — but each marked a pivotal moment in the slow unfolding of an artistic trajectory that continues to evolve.

Come take a journey down memory lane into my artistic discoveries.

Early Choreographic Developments 2008–2014

These works trace the beginning of an unfolding. They are where questions began: about sound, body, system, and perception. Though created at a time when resources were fewer and tools more raw, these pieces continue to resonate. They hold the seeds of everything that followed.

Each one is a fragment, a field of tension, a turning point. Some are documented only in part—but the echoes remain.

Disappear Here (2008)

This piece weaves sonic threads through every movement. Influenced by Brian Eno’s Oblique Strategies and the haunting presence of Ian Curtis—his voice, his fracture, his magnetism—Disappear here dwells in the grey zones of tension and release. It is a claustrophobic dive into shadow and light, identity and the fight to break free.
Unaware that sound would become the core of my artistic journey. Disappear Here marks this first unfolding: sound as essence, movement as vessel. The whole process was initiated by the creation of the sound design, which proposed a clear atmosphere, a strong foundation and the inspiration for the physical development. Sound as creative motor.

Rattlepit (2011)

A visceral exploration, inspired by the tryptic painting of Hyeronimus Bosch ¨The garden of earthly delights¨. A piece where the physical sound of bones breaking becomes a catalyst for emotional reaction. In close collaboration with composer Richard van Kruisdijk, the soundscape acts as a performer in its own right—tangling with the choreography, pushing it, provoking it. This piece marks my first steps into using sound as both environment and antagonist/protagonist.

Feedback (2013)

A study in accumulation and emergence. With Helena Volkov, I explored the fragmentation of scenic and sonic elements: video projection, smoke, and a feedback loop between microphone and speaker. For the first time, I allowed meaning to arise from the layering of image and sensation—rather than pre-defining it.
This work laid the foundation for compositional tools I would later formalize in my BeingSonic creative method.

MasturNation (2014)

A bold, multidisciplinary work that merges dance, video, sound, and lighting into a claustrophobic, darkly humorous space. It was the first time I fully designed the scenic world myself, experimenting with non-traditional audience layouts and shifting spatial focus — inviting the viewer to zoom in and out of the action like an art installation in motion. Mixing twerking, can-can, Barbie, stripper joints and pop culture, MasturNation confronts the hyper-sexualisation of the female figure in media. The dancers are pushed to physical extremes, while the space itself becomes a container for critique—unfolding between excess, exposure, and estrangement.

This piece marked another important first: using sound not only as atmosphere, but as meaning. Robotic, digitalised voices punctuate the choreography—disrupting, questioning, and exposing what lies beneath the surface. These fractured phrases act like a mental X-ray, revealing inner monologue, irony, or societal pressure in real time.

Shifting Frequencies: Works That Provoked Change 2013-2017

Distinguished dreams #3: Atari/Kowareta (2016)

Sometimes transformation doesn’t begin with a finished work, but with an experience. A moment of rupture, or curiosity, or risk. These three projects mark the threshold where my choreographic approach broke from form and moved toward energy, vibration, and sonic architecture.

They pushed me to abandon fixed structure, engage directly with sound as performer, and embrace the unpredictable nature of scored improvisation and live interaction: the fluidity and spontaneity of a music jam with the fixed internal structure of choreography.
They did not emerge from method — they created the need for one.

Intro In Situ w/ Jonge Honden and Jesus de Vega (2013)

A site-specific improvisation created with musicians collective Jonge Honden, led by Marc Alberto, talented sound designer, for the Nederlandse Dansdagen festival.
Over the course of one hour, and surrounded by the live music of the Jonge Honden musicians, I explored movement and sound via a live theremin and sonic feedback through a treated microphone — encountering sound as presence, distortion, and physical space.
It was my first embodied experience of sound not just as score, but as vibration, pressure, force. A piece that left no visual trace (no photos or videos are available), but deeply altered the artistic path ahead of me.

Distinguished Dreams #3: Atari / Kowareta (2016)

Created with singer-songwriter Chai Blaq for the Nederlandse Dansdagen, this project marked my entry into co-creating sound and choreography as one.
The tracks Atari and Kowareta emerged from the dialogue between sound and body itself — from breath, percussion, glitch, silence.
Here, the dancer was not responding to sound, but composing it. The work became a study in listening, becoming, and sonic embodiment and the seed for Choreopop (2018).

GlitterGods/Stigma (2017)

Born from the tension between the need for more queer visibility in a moment of progressive political erasure of LGBTQ+ rights, this piece began with a more traditional structure and scenic space—and slowly refused it. The dancers where located in a catwalk, where their physical freedom was subdued to limitations/restrictions in tempo, in spacing and in movement itself.
GlitterGods/Stigma was an atmospheric sound-driven performance, almost an installation, that shed fixed choreographic material in favour of sonic commands—slow motion, fast forward, reverse, loop, distort. The inspiration came from events like the Pulse massacre, the stonewall riots and homoerotic and religious art paired with the fact that at the time there were 72 countries where being LGBTQ+ was penalized with death or imprisionment.
The body became a vessel for vibration, a type of kinetic sound added to the sonic design, which in turn, became a provocateur of movement.

This was the work that planted the seed for what would become my BeingSonic methodology: choreography as vibration, energy, and transformation.

Choreopop: Where Body Becomes Music 2018

The collaboration and piece that truly made everything click the right way. The harmony between all the elements I had been researching, exploring and developing since my earlier works started singing and all i had to do was dance to its beautiful melody. I have plenty to thank both to Choreopop and to the collaboration between Chai Blaq and myself in regards to how this piece re-shaped my artistic vision.

Choreopop (2018)

Choreopop is a choreographed music album—an intimate fusion of dance, pop music, and live video clips—where body and sound become one and the same.

Created with composer/producer/singer Chai Blaq, this project marked a profound turning point in my artistic journey. For the first time, I fully embraced being a musician—where movement was not an addition but an essential part of the musical composition. Each track became a mini choreography, each gesture a note in a living, breathing score.

Inspired by the philosophies of Kintsugi and Wabi-sabi, Choreopop finds beauty, humor, and vulnerability in what is broken—whether society, relationships, climate, or bodies. Simple yet profound, playful yet raw, Choreopop invited audiences into a seamless dialogue between sound and body, sparking a shared aha moment—mine and theirs—a realization of what my work could be at its fullest.

BeingSonic: Choreography as Vibration 2020-2024

Birds of paradise, collaboration with Project Wildeman (2020)

In this phase, choreography became vibration. Through immersive, interactive, and sonic works, I began to dissolve the boundary between audience and performer, sound and movement, composer and dancer. These collaborations post Choreopop allowed me to develop further BeingSonic, and to creatively dialogue through it.

BeingSonic is no longer just a method — it’s a lens for listening, composing, and inhabiting space. These recent works continue the dialogue between body and sound as one living, resonant instrument.

Birds of Paradise (2020)

The threshold where sound and body meet as one.
Created in collaboration with Project Wildeman, Birds of Paradise marks my first full immersion into the BeingSonic methodology — where movement and sound don’t just coexist but actively shape each other.
This futuristic ritual mating dance fuses augmented reality, electronic music, and choreography into a seamless whole, reflecting a hybrid world where bodies and virtual spaces blur.
Here, BeingSonic guided the creation of movement as a sonic act — gestures as signals, pulses as codes — transforming dance into a layered performance of desire and identity.
This piece opened a new horizon in my work, where technology, collaboration, and sonic embodiment converge.

Mujō, Vibes #4 (2021)

A sonic labyrinth of collective movement and intuitive play.
With Mujō, co-created alongside composer Michele Samba and Parisian digital artists Orbe, Mujô allowed me to extend the use of BeingSonic into the realm of an interactive sonic game, inviting participants to become both players and performers in a dynamic sonic environment.
Movement here is not fixed choreography but a responsive, evolving language shaped by live sound instructions delivered through headphones.
This work embodies BeingSonic’s core principles: the body as instrument and musician, movement as vibration, and sound as shared energy.
Mujō became a joyful exploration of presence, connection, and improvisation — a collective celebration of sound guiding the dance of many bodies.

Sonic Session: Euphonic (2021)

A study in the interplay of precision and freedom.
Euphonic is a live exploration of BeingSonic’s essence: the intertwining of movement and sound as inseparable forces.
Created with Fontys students, this work blurred the boundaries between choreographed structure and live musical improvisation, transforming performers into active co-creators of a sonic landscape.
The piece reveals the invisible architecture of vibration beneath the body, inviting both performer and audience into a space where listening becomes moving and moving becomes sound.
Euphonic marked a crucial moment in translating BeingSonic from workshop practice into fully realized performance.

Future works: Fluidity and transformation

Soundtrack Vol. ! (to be released end 2025)

My work unfolds in the spaces between boundaries—where movement, sound, and perception dissolve and reshape. Following my curious nature and also the fluidity of my creative output, the future holds space for a new live work and also for the release of my first musical endeavour..

Homosonic (to be premiered in 2026) — is a new piece currently in development. Inspired by natural phenomena and shaped by the fluid logic of electronic sounds. It explores the tension between force and fragility, translating movement into a living, emotional soundscape, and creating a porous space for the imagination of the audience.
The project began with creative residencies at ICK Amsterdam (November 2024) and Urbine in L’Hospitalet de Llobregat (January 2025), and will premiere in 2026.

Alongside performance, Soundtrack emerges — a musical trilogy of sonic choreographies.

Soundtrack Vol. 1 (2025) - is my first musical release: a movement score in sound, sculpting textures, breaths, and ruptures. It blurs the line between music and dance, pulse and impulse, inviting you to feel music as movement itself. A choreography danced inside of you.

Together, these works extend an evolving dialogue — a liminal journey weaving body, sound, and space.

all works