Jany Pons Ballester, operatic and traditional singing

Jany Pons Ballester began her path with a range of creative work and projects: architecture, design, communication, management of company, and cultural, local development and urban awareness projects.

Through her singing work, which she practiced in parallel since 2001, she gradually developed a repertoire of operatic and traditional songs from Europe and the Mediterranean basin. In particular she trained with Nadine Abad, Mireille Marie, Koitcho Atanassov, Martine Rol, Alan Bennett, Behnam Keryo, Nabila Zein and Catherine Joussellin.

In 2011, she and dancer, Zilda Barthès, created the performance "Mediterranean Europes," which combines a capella singing and contemporary dance in an aesthetic that blurs the boundaries between the classical, the traditional, and the contemporary.

This first performance was warmly received and lead to two orders: "Maryam, Maria, Mary" and "Orients, roots of the Book" (2013), with dancer Elsa Moulineau.

In 2015, the collaborations with the visual artists Catherine Lippinois and Fanny de Rauglaudre permited to create "Beguines, women in response", with the support of Narthex, and "Because the rose is without why" commissioned by the city of Sarlat.

The Keruzha Company was then founded, on the basis of the developed material.

2016 and 2017 the purpose and the artistic process of the company were formalised.

The current repertoire was rewoven with the participation of the visual artists, and she took this opportunity to enrich it with poetry and tale, basing on her experience of singing accompaniment with professional storytellers (2008-2012).

Performances were played in other forms and conditions: singing and visuals arts, singing and storytelling, extracts within artistic journeys, outdoors, ...

She worked, with Catherine Lippinois, on public exhibitions/ performances projects that presents visual artists' work in a lively and interactive way.

Lastly, the artistic team was made up, and the completion of "Because the rose is without why" followed mature in parallel with the sketch out of a comprehensive model for audiences known as "prevented", named "Common humanity".

"Common humanity" reflects the bias to not make distinctions between audiences, but rather to make wider the bounds of possible sharings.

She nurtured it from her practice in accompanying people facing illness or death (since 2008), and from interventions for fragil audiences (gerontology, psychiatry).

From the end of 2016 to early 2018, these interventions were completed by the project "Corps et Voix" with Alzheimer sufferers in Carsac–Aillac, with the support of "Culture et Médico–Social Dordogne".

In 2018 she created "Katarekuna" with dancer Isabelle Avid, for young people, families and medico-educational institutes.

She is currently working on news performances: the outcome of "Because the rose is without why"; and "Exile(s)" and "Brundibar or the So Big Bad Noise", collective creations developped within the framework of a territorial project.