Merián Soto

Merián Soto has presented her choreography in numerous venues throughout Puerto Rico, the United States and internationally since the mid 70s.[6] Such venues include the Whitney Museum at Philip Morris, the Institute of Contemporary Art in London, the Hostos Center for Arts and Culture, the Lincoln Center Serious Fun Festival, and the Chicago Museum of Contemporary Art.[7]

From 1985 to 1995, Soto collaborated a great deal with MacArthur award-winning visual artist Pepon Osorio. By means of the inclusion of live music, dance, acting, slide projections, film and stage props, Soto and Osorio created interdisciplinary pieces that explored racial and sexual stereotypes and other issues in contemporary Puerto Rican reality and popular culture.[3] Two significant collaborations of Soto and Osorio include Historias (1992), a multimedia work that addresses Puerto Rico’s history, particularly the impact of colonization, and Familias (1995), also a multimedia work that “poetically meditates on the nature of family.”[3]

Soto and Osorio’s collaborative pieces also aim to involve the community in both process and product.[1] The participation of eight local Bronx Latino families in the piece Familias as well as the incorporation of local artists and people into the various performances of Historias across the U.S. and internationally reflects how the involvement and participation of the community is a primary aspect in Soto and Osorio’s pieces.

Other signature works of Soto in which she collaborated with Osorio include Puerto Rican Trivia (1987); No Regrets (1988); Referencias (References) (1990) and Broken Hearts (1990).

In 1996, Soto began developing works that incorporated popular dance forms, particularly salsa, as both a theme and choreographic technique.[3] Among these are Así se baila un Son (How to Dance a Son Montuno) (1999), Prequel(a): Deconstruction of a Passion for Salsa (2002) and La Máquina del Tiempo (The Time Machine) (2004). As of 2005 Soto branched out from post-modern, Salsa based dances and into branch dancing. Soto defines branch dancing as “a slow meditative performance practice, which involves moving into stillness, the investigation of gravity as essential force, the detailed sequencing of movement through inner pathways and dynamic shifting into balance and alignment.”[8] In essence, Soto’s Branch Dances investigate the connections between movement, the elements, physical experience, alignment, balance, consciousness, and performance.

After having conducted numerous solo, unadvertised branch dance performances in the park, Soto embarked on the One Year Wissahickon Park Project (2007). The One Year Wissahickon Park Project is a series of 16 performances designed around the concept of four seasons, four sites and four performances in each site that took place in Philadelphia's Wissahickon Valley Park from 2007 to 2008.[8]

Inspired and informed by her many days spent in Philadelphia's Wissahickon Park, Soto continued her Branch dance series with her most recent pieces Postcards from the Woods (2009) and Winter Dance (2010).

• Winter Dance, 2010
• Postcards from the Woods, 2009
• A Song of the Heart, 2009
• What is Love?, 2008
• One Year Wissahicon Park Project, 2007
• States of Gravity & Light #2, 2007
• States of Gravity & Light #1, 2006
• Three Branch Songs, 2006
• Balancing Acts, 2006
• La Máquina del Tiempo, 2004
• Prequel(a): Deconstruction of a Passion for Salsa, 2002
• Entrada (Entry), 2002
• Canto A Yemayá y Ochún (Song for Yemayá and Ochún), 2001
• Forest Moments, 2000
• Así se baila un Son (How to Dance a Son Montuno), 1999
• Pelea de Gallos (The Cock Fight), 1998
• ¡Revienta! (Explode!), 1998
• Nieve Sucia (Dirty Snow), 1997
• Todos Mis Muertos (All of My Dead Ones), 1996
• Cómo desnudarse (How to Undress), 1996
• Familias, 1995
• Jai Kint Cu Bao (Lizard Laying in the Sun), 1993
• Historias, 1992
• Sacude (Shake), 1990
• Broken Hearts, 1990
• Referencias (References), 1990
• Tú y Yo (You and Me), 1989
• No Regrets, 1988
• Wish You Were Here, 1987
• Puerto Rican Trivia, 1987
• Pachanga en dos Medios (Pachanga in Two Mediums), 1987
• ¡Cha Cha! Usa la cabeza! (Girl! Use Your Head!), 1987
• Saints on Wheels, 1987
• How to Dance the Cha-Cha-Cha, 1986
• Chúpate esta en lo que te mondo la otra (Such on this one while I peel you another one), 1986
• ¡Ay! Gran Poder de Dios (Oh! Great Power of God!), 1986
• Cocinando (Cooking), 1985
• Underconstruction, 1985
• Xón, 1984
• Escalio (Tillable Land), 1983
• Negro (Black), 1981
• Blanco (White), 1981
• Sueño de Malanga (Malanga Dream), 1980
• Flor de Caimito, 1980
• El Agua Viva (The Living Water), 1979
• La sirena y los borrachos (The Mermaid and the Drunks), 1976
• Pedacito de Cristal (Chard of Glass), 1975

Merián Soto is one of the founding artistic directors, along with Pepon Osorio (visual artist) and Patti Bradshaw (choreographer/dancer), of Pepatián.[9] Founded in 1983, Pepatián is an arts organization in the South Bronx. Pepatián is “dedicated to creating, producing and supporting contemporary multidisciplinary works by Latino and Bronx based artists”.[9] In essence, by means of performances, workshops, residencies, arts education, mentoring projects, panels, Q&As, and other programs, Pepatián aims to reach out to Latino artists and audiences underserved by mainstream arts establishments.[9]

In June 2000, the Bronx Council on the Arts and the Bronx Borough President acknowledged and gave Pepatián an award for “its contributions to the cultural well-being of the Bronx”.[9]

• Merián Soto
• Pepatián
• Branch Dances Blog
• One Year Wissahickon Project
• One Year Wissahickon Project Blog