Lucia Lacarra, born in 1975, brought to the stage a blend that goes beyond pure ballet. Beside her, Matthew Golding crafts narratives where dance expands into other disciplines, notably visual arts. Next Thursday, the 2nd of March, Fordlands presents a production at Teatro Principal in Alicante titled Fordlandia, a piece conceived during confinement and premiered in Dortmund at the end of 2020.
Her career includes the Nijinsky Award, the Benois de la Danse, and the National Dance Award for Interpretation. She was named dancer of the decade in 2011 and earned the Max Award for Best Actress last year in a performance set in a quiet night. Lacarra has held principal dancer roles with Roland Petit’s Marseille Ballet, the San Francisco Ballet, and the Munich Opera Ballet. Between 2018 and 2020, she directed the Victor Ullate company and its ballet school, guiding a generation of dancers with a distinctive vision.
Fordlandia emerged during lockdown. It is a demanding process, especially since it centers on dance itself.
Yes, the work was created during the pandemic. It felt vital, almost like oxygen. The team was scattered: Lacarra in Zumaya, Golding in Amsterdam, and theaters closed on March 12, 2020, forcing everyone home. That sudden stop sparked a decisive idea: to create a show during the ten weeks of downtime. Dance became the thread that kept them connected, the hope that allowed them to envision a future together on stage, to revive a shared dream and offer a positive message to audiences.
The project carries a hopeful note, reflecting a moment in time that resonates beyond the stage and remains meaningful in difficult periods.
The reality of the world has felt shaken, and this is visible in what audiences encounter at the cinema and in theaters. Theaters face rising costs, and audiences change their habits. Performing a dance piece remains a bold venture, yet it is essential, nourishing the soul. Since the pandemic, travel and curfews have complicated life on tour, but the drive to convey emotion keeps artists moving forward. The hope is that audiences experience something uplifting, even when times are rough.
“We want to innovate in the world of dance, open new horizons, move beyond pure dance, and blend it with other arts”
There is a fusion of dance, music, cinema, and visual arts in this production. Does this signal a shift away from rigid forms toward a more integrated approach? The answer is yes. The collaboration across arts elevates the impact, and the creators love music and film. Their ideas grow when different media feed each other, helping to tell their story. The visuals reflect both Zumaya and the Netherlands, two places that feel separate until they reconnect on stage. The final movement mirrors the pre-pandemic routine, a return to normality after a long goodbye to that quiet period.
During performances, the show on screen becomes a companion to the live dance. The screen acts as a shared dream, beginning with a moment on a Dutch beach where Matthew gazes into the distance and imagines a future together. As the curtain rises, an empty theater appears, followed by images that show a unified mind despite physical distance. The journey moves from a German forest to a Zumaya beach, with all energies on display, until the moment the two dancers meet again in the final frame.
Lucia Lacarra and Matthew Golding in Fordlandia — a collaboration captured by Leszek Januszewski.
Why pay homage to cinema in this way? The filmmakers are big movie fans, savoring the cinema experience as a total event. Watching a dance piece online differs from the magic of sitting in a theater with the lights down. Golding serves as director for their films, and the pair already has two productions with a cinematic element and another planned for the upcoming season. The filmmaking process may be different from dance, but it is a passion that they deeply enjoy.
Does Fordlandia suggest that art can fuel dreams and invite others to dream as well? The creators agree. The project began as a dream that helped them escape a gray reality. Art and dance offer a doorway to transport audiences and let their souls breathe, an essential relief for the mind and spirit.
Their company, Goldenlac, aims to deliver fully immersive and innovative experiences. They acknowledge that true innovation is a moving target. They strive to push the visuals, break away from conventional notions of art and beauty, and favor provocation and bold statements. The goal remains to open new horizons for dance, to blend it with other arts, and to preserve the emotional core of movement. Creating impact on audiences is not easy, but it remains their driving force.
“Every loss of a company and a school is a loss, especially in a country with strong tradition and high-quality talent.”
Looking at Lacarra’s resume offers insight into how the dance world operates in Spain, often through international work. Progress in the country is uneven; opportunities can be scarce for those who stay, while others seek recognition abroad and return with a name. The current landscape reflects a mixed picture, with talented dancers emerging locally but facing limited domestic platforms.
Did the disappearance of the Víctor Ullate company and ballet school represent a major setback for Spanish dance? It is viewed as a loss, particularly in a culture with deep traditions and a rich pool of young talent. Some argue that the sector should be insulated from political shifts and supported as part of the country’s education and cultural fabric. In Germany, dance is integrated into school programs; the same approach is urged for Spain. Dance should be more than recreation — it should be a cornerstone of public education and cultural life.
Lucia Lacarra at Teatro Real — a reminder of the enduring presence of classical and contemporary forms. The National Dance Company in Spain now reflects a repertoire that spans classical and contemporary works, and such flexibility is a sign of progress. The field continues to evolve, balancing tradition with modern explorations that broaden the horizon for dancers.
Dance remains a demanding profession that tests a dancer’s limits. Lacarra notes that sustained training can reduce wear on the body, allowing a longer, more vibrant career. In her early years with Marseille, she anticipated retiring around thirty, yet her passion and discipline have kept her thriving. The body requires care, but the art form can still be a source of extraordinary longevity and fulfillment for those who listen to their own limits and pursue evolving paths.
Looking ahead, a new show titled Lost Letters is slated for October. It will premiere at the Arriaga Theater in Bilbao and blends two ideas: a wartime letter collection exhibited in a Washington museum and a companion book of love letters from the era. The production asks what would have happened if that letter never reached its recipient, exploring a romantic thread through movement. The duo plans to push forward with eight other dancers, continuing to confront challenges and shaping performances that unite dancers and audiences in a shared, rebellious spirit.
Lucia Lacarra and Matthew Golding continue to redefine the boundaries of contemporary dance—an ongoing journey marked by courage, collaboration, and a relentless drive to create memorable, emotionally charged experiences for audiences in Spain, Europe, and beyond.