Objective: Internationalization and representation of the Company. The Company has strengthened the internationalization of the Company's projects and has played a key role in improving the communication and dissemination of cultural content, aligning itself with the objectives of the call for grants. One of the most significant advantages has been the representation in various cultural events at national and international level, including fairs, circuits and festivals. Thanks to this presence on renowned stages, the company has achieved an outstanding projection and positioning in the performing arts.

In addition, strong relationships have been established with public administration contracting entities, non-profit associations and private cultural management companies. This network of collaborations has significantly expanded the company's visibility and reach, boosting its projection in diverse cultural contexts. The distribution company has played a key role in the development of specific communication strategies for the company, including the identification of opportunities in the international market. This strategic collaboration has directly contributed to the internationalization of the company's dance projects and has enabled their presentation in multiple countries, such as Italy, Poland, Spain and Mexico. This support has effectively supported the objective of improving the cultural and scenic fabric, as well as the communication and dissemination of cultural content, in full compliance with the bases and objectives of the call for grants.

Objective: Internationalization of the entity and its foreign trade. A company's website in the digital era acts as its letter of introduction, its window to the world. Therefore, it is essential not only to keep it updated and attractive, but also to adapt it to an international audience. In this sense, our project has invested in the continuous support, updating and maintenance of www.datedanza.es to ensure that visitors always find relevant and attractive information. This is essential to keep our audience engaged and provide our customers with seamless access to our content, shows and services. However, one of the highlights of this investment is the translation of our website into English.

The globalization of the performing arts and the importance of reaching an international audience cannot be underestimated. The English translation of our website significantly expands our reach, making it accessible to a wider audience, not only in English-speaking countries, but also internationally. This not only facilitates marketing abroad, but also promotes diversity and cultural exchange, a fundamental goal in the contemporary art scene.

The translation of our website into English is a concrete step towards the internationalization of our dance projects. It is also perfectly aligned with the objectives and spirit of the call for proposals, which seeks to improve the cultural and performing arts fabric, foster communication and dissemination of cultural content, and promote culture nationally and internationally. Ultimately, this investment not only strengthens the company's online presence, but also contributes to the enrichment and promotion of culture and the performing arts worldwide.

Objective: Improvement in the dissemination of digital content and creation of documentary archives . As part of our project, we have created an accessible digital archive that houses all the company's photographic, sound and audiovisual material since 1999. This archive not only preserves the memory of the company, but also aligns with the objectives of the call for proposals and the object of the project. It provides a valuable resource for the dissemination and promotion of our cultural activities, thus contributing to the revaluation of the cultural industry, the improvement of the supply of digital content and the strengthening of the value chain of Spanish cultural industries, as promoted in the call.

Objective: Reduction of energy consumption and ecological footprint generated by the entity. This was achieved through the acquisition of technical resources and the implementation of sustainable practices, such as the incorporation of LED light bulbs, the replacement of conventional equipment with LED video projectors (eliminating the use of lamps), the adoption of digital material for office and management (improving the entity's productivity) and the preference for fabric scenographic material instead of plastic material. These measures are aimed at reducing energy consumption and minimizing the ecological footprint of the inputs used.

This objective aligns perfectly with the green and sustainability focus of the call for public grants. The adoption of more efficient technologies and sustainable practices, such as LED lighting fixtures and LED video projectors, not only reduces energy consumption, but also contributes to reducing carbon emissions and saving resources. The choice of more environmentally friendly materials, such as fabric instead of plastic, has a positive impact on the entity's ecological footprint.

Objective: Reduction of energy consumption and ecological footprint generated by the entity. A responsible practice was adopted by substituting polluting scenographic materials for sustainable and ecological alternatives in the realization of performances. An outstanding example is the purchase of Chinese silk fabric instead of non-reusable plastic used in the artistic creation "Natanam". This action is in line with the need to reduce the ecological footprint and promote more sustainable practices in the artistic industry.

Objective: Support artistic creation. The indirect support provided to our structure has been fundamental for the realization of the pilot project "En Tierra de Nadie" (No Man's Land). This activity was carried out in collaboration with the Delegation of Educational Development, Vocational Training and University of the Junta de Andalucía, the I.E.S Alhambra, DA.TE Danza, the ProVivienda Association and the Solidarity School Foundation. The pilot project "In No Man's Land" represents a tangible example of how our modernization project has enabled the creation and implementation of additional projects of artistic creation and mediation in collaboration with various entities. This initiative not only broadens the scope of our artistic activity, but also contributes to educational and cultural development in our community. This pilot project was a precursor to subsequent larger projects.

It is important to dwell on the research work carried out at I.E.S Alhambra during the 2021-2022 school year, on the occasion of the creation of the show "En Tierra de Nadie" (2022), working with adolescents in the educational stages of 4th ESO, 1st and 2nd Bachiller and the inclusion of the Aula TEA with the aim of reflecting on the theme of the migrant population, refugees or economic and social inequality in the world.

The fact of being part of the daily activity of an educational center is not at all simple; there are bureaucratic formalities and compliances that must exist for such a situation to arise. Initially, on our own initiative, several meetings were held with the technical teams of the Territorial Delegation of Educational Development, Vocational Training and University in Granada, belonging to the Junta de Andalucía (autonomous administration responsible for education). There we found our best ally, Rosa Suarez (Coordinator of the Pedagogical Office of Fine Arts of the Delegation), with great sensitivity for dance and performing arts, unconditionally supported and coordinated our entry into the classroom.

Together with her, it is worth mentioning that all the teams of the administration worked in a committed way for this implementation; the delegate Mª José Martín and her predecessor in the position, the different heads of service or the Office of Coexistence and Equality, due to their connection with the subject.

The first step from the Delegation was the creation of a pilot project entitled AIDIA (Art, Innovation, Integral Design of Learning) where all these types of experiences could be supported, which wanted to use art as a vehicle for learning and as a focus of interest within the educational project. They designed a curricular framework, then they negotiated with the reference inspector and, finally, they considered the different centers that could host it...

They opted for the I.E.S Alhambra de Granada for various logistical and administrative reasons, in addition to its already close ties with the arts, establishing conversations with its management; Fernando Mollinedo (Director) and Mª Carmen González (Head of Studies and coordinator of the theater classroom).

It is a process that is very complex due to the fact that the teachers present must meet certain requirements, in addition to submitting a series of documentation. The mere fact of the presence of art in the school, and this can serve as a criticism of our current educational policies, must be justified within the educational project, the annual plan of the center and its curriculum. The advantage that I.E.S Alhambra had was to have a subject such as "AulArte", which was created by Mammen Gonzalez in her competence as head of studies and which the law allows as a subject of its own design, to be carried out within the school timetable and which was approved by the cloister and by the school council.

Little by little all the processes within the administration were articulated, until it was possible to start the direct work for the research process. One weekly session was held with these groups, from November 2021 to June 2022, in which theoretical-practical dynamics of reflection and finally a more physical process of connecting mind and body were worked on. This process resulted in a short performance of short duration that was represented in the school for the entire educational community.

The research process for the show "In No Man's Land" not only focused on direct work with adolescents, but also involved direct intervention with migrants, refugees and people in conditions of social exclusion. One of the premises of the research process for the creation of the dramaturgy of the show was to narrate and tell real stories, denouncing the continued non-compliance with the Universal Declaration of Human Rights, and to recover the theaters and the street as spaces of vindication.

Fundación ProVivienda was the first partner association, an institutionalized assistance association for migrants, where we were provided with informative sessions given by a professional team covering the legal status of people migrating to our country, as well as reception actions. Omar Meza developed workshops with users who were mostly people from the Middle East, Africa and Latin America.

In some cases, they did not speak the language and there were also social barriers due to the culture of origin. The age range included a wide intergenerational spectrum, from children to the elderly. One of the biggest challenges we encountered in these workshops was the lack of continuity of the users from one workshop to the next, making it very difficult to make more or less progressive progress in the intervention.

The research process for the show "In No Man's Land" not only focused on direct work with adolescents, but also involved direct intervention with migrants, refugees and people in conditions of social exclusion. One of the premises of the research process for the creation of the dramaturgy of the show was to narrate and tell real stories, denouncing the continued non-compliance with the Universal Declaration of Human Rights, and to recover the theaters and the street as spaces of vindication.

Fundación ProVivienda was the first partner association, an institutionalized assistance association for migrants, where we were provided with informative sessions given by a professional team covering the legal status of people migrating to our country, as well as reception actions. Omar Meza developed workshops with users who were mostly people from the Middle East, Africa and Latin America.

After this experience, we made contact with the Solidarity School Foundation, an association located in the Sierra Elvira region (Granada), barely 20 kilometers from the city center. Its form of organization differs from the previous one, since its nature responds to a project with a more familiar sense. Its facilities or home are made up of a complex of very modest homes, where they also house various self-services such as a nursery, playroom, dining rooms or classrooms for teaching. In addition, they develop various projects and occupations for their users, mostly nationals and foreigners, of different ages and conditions. One of the things that impressed us the most was the heterogeneity of people in decent but modest conditions.

We went to them because we knew that there was a stilt walkers group within the Foundation that performed at events and activities. There we met Dora Fanelli and Ignacio Pereda (Directors of the Center) and Franccesca Massetti and Pablo Bouraschi (Volunteers and coordinators of the stilt walkers group).

In a period of a month and a half, we conducted 5 sessions with young people between 17 and 32 years old, of Moroccan origin. During these sessions we carried out dynamics and exercises of reflection and debate, body expression, psychomotor skills and easy dance exercises. There, we met Abdelmoutaleb S., Aissam E. A., Ismail T., Mohammad G., Reda E. J. and Zouhir C.

During those months prior to the production of "En Tierra de Nadie", the idea of incorporating 2 migrants and people without dance experience to the cast of the production arose, with the intention of creating an inclusive show that would integrate people with and without dance experience/training. Finally, after the realization of the sessions, we selected 2 members to participate in the production "En Tierra de Nadie", which would begin rehearsals in August and would conclude with its premiere in October at the Alhambra Theater in Granada, within the Performing Arts Program for Social Transformation in Andalusia, promoted by the Andalusian Agency of Cultural Institutions (AAICC) of the Ministry of Culture and Historical Heritage of the Andalusian Government.

Their incorporation into the artistic cast would be done under the same conditions as those of a professional person: temporary contract, social security registration, same economic conditions, etc. This also became a challenge, since one of the two selected did not yet have their residence and work permits in force. It was at the beginning of the production rehearsals in August when we realized the magnitude of the challenge we were facing.

The first weaknesses of the project began to appear; our "good will" and in part a certain "unconsciousness" were sufficient reasons to try to cover competencies for which we had neither economic resources, knowledge nor professional accompaniment. During this process, which in the end was not completed by the two selected, we discovered and detected that, in spite of our knowledge in the application of art and the performing arts in transformation processes, there are different levels of application and also different degrees of intervention. That is to say, working with people who are already established and settled in a social space is not the same as working with people who have not yet been able to do so and who live in a constant personal emergency. While part of the team had assimilated punctuality, commitment and responsibility (coming from an already established social perspective), these users still lacked tools, habits and skills in this society they intended to be part of.

Therefore, from a self-critical exercise in our organization, we cannot say that the inclusion process failed, but rather that we were not able to make all the necessary means available for this inclusion, given that the performing arts and artistic creation already lack economic and technical means.

Even so, the participation of these two young people in the production during the first two weeks of choreographic creation must be highlighted, since thanks to their stories and testimonies of how they arrived in Spain, how they were received and what they found on their arrival, they gave rise to different scenes and choreographic movements that have been captured in the show for posterity.

At that time of relief, and with two weeks of the creation process advanced, we contacted the Granada Acoge Association, where we met Aziza, social educator in the area of the association's outpatients, who provided us with a list of young people who could fit into the project. After some interviews and dynamics carried out with the company, we incorporated Ibrahima Bangoura, a young man of 18 years of Guinean origin, with a residence and work permit. His incorporation was immediate and his predisposition to creative work was a discovery and an inspiration for the rest of the colleagues. His inclusion in the group was a success, partly because certain basic needs were already covered thanks to his host organization, and also because there was a deep work on the part of social educators to facilitate his autonomous inclusion in our society.

Ibrahima participated in the creative process of the show and traveled with the Company to Sabadell (Catalonia), where he carried out a 14-day artistic residency at LaSala Centro de Artes para las Familias de Sabadell. This residency culminated with the realization of 5 performances for school audiences, where Ibrahima was the protagonist and example for these children and young people, who reflected on the content of the show and were able to engage in a direct dialogue with him, a person of migrant origin in the process of inclusion in our society.

Objective: To promote, create and bring dance and the performing arts to infancy, childhood and youth. All measures and actions undertaken in this project have a direct impact on the continuation and strengthening of our fundamental mission: to bring babies, children, youth and families closer to the performing arts and dance, a universal right supported by constitutions, statutes and laws. This is especially relevant given the positive implications it has on their development and growth. Our modernization project has also provided the necessary support for the maintenance of our audience development project. This project is based on conducting opinion surveys aimed at the public attending our representations. The surveys are carried out through a QR code provided at the end of the show, which redirects to a SurveyMonkey online platform with a questionnaire to evaluate the show. It is essential for our organization to know the opinion of our audience, to evaluate the level of satisfaction with the theatrical experience and to understand the profile of the people who attend our performances.

Our artistic team plays an active role in this work, participating in discussions, colloquiums and pre-show meetings with the audience. We value interaction with our audience and understand the importance of getting closer to their perspectives.

We are proud to highlight our dedication to approaching the language and needs of our youngest audiences, children and youth. We have promoted the active participation of children's audiences in our theatrical spaces, fostering an environment of shared learning and creativity. In addition, we have developed pedagogical guides and materials adapted to current times, especially designed for adolescent audiences. A tangible example of this commitment is the guide for teachers and the pedagogical material for students of our latest production, "En Tierra de Nadie" (In No Man's Land). These resources include theoretical content, didactic games, audiovisual material to understand the research process and evaluation surveys for assistants and teachers. We are committed to enriching the artistic and pedagogical experience for all ages, promoting a deep appreciation of the performing arts and active participation in the creative process. In addition, we have carried out dissemination actions in social networks and other media to reach a wider and more diverse audience.