The MUN presents the new creation of La Venidera, a commitment to Spanish dance from a contemporary perspective.

The Museo Universidad de Navarra presents the new creation of La Venidera , a commitment to Spanish dance from a contemporary perspective.

Irene Tena and Albert Hernández , former principal dancers of the National Ballet of Spain , begin a period fully dedicated to their company, focused on the renewal of the language of flamenco.

Pamplona, October 23, 2025 – After their time with the Spanish National Ballet, Irene Tena and Albert Hernández decided to dedicate themselves fully to their company, La Venidera. This Friday at 7:30 p.m., they will present the first major proposal of this new stage at MUN No. 1 , which premiered just a few days ago at the Centro Danza Matadero (Madrid) , with great support from the public and their colleagues. They explain that this piece “expands and deepens the margins of Spanish dance.” Tickets can still be purchased at the box office and online for this show, which will give the public the opportunity to see this discipline “from a very contemporary, very carefully curated aesthetic,” Hernández explains. “To see flamenco from other perspectives,” surrounded by “other arts, thus becoming a universal language.”

The dancers return to the MUN theater, highlighting the trust they have always been shown, something "not so common" for young creators, the choreographer notes. "Irene Tena and Albert Hernández have been to the MUN on several occasions, dancing with the National Ballet of Spain or in works by other contemporary dance choreographers," explains MUN Artistic Director Teresa Lasheras , "but on this occasion they deserve our support to carry forward as creators their own artistic project, which seeks to stretch the seams of the classical languages of Spanish dance and explore new territory. Their artistic courage is undoubtedly equal to their talent, and they are an example of honesty and commitment to their discipline in their efforts to advance it without betraying it."

With artistic guidance from choreographer Marcos Morau , No represents "an introspection, a return to asking ourselves who we are, what our identity is," explains Tena. A "very thoughtful and carefully crafted" show, to which they have dedicated a great deal of time, adds Hernández, who also emphasizes that their desire and enthusiasm have driven them to take a risk, to abandon the stability offered by the National Ballet; but also the risk of proposing "something genuine" that identifies them.

Thus, No alludes to life as a succession of decisions, since when we say yes to one choice, we are saying no to another possibility. "Everything we've had to say no to in order to consider this new creation has ultimately opened many yeses, many doors," the dancer contextualizes, "but it was important to recognize everything that hadn't identified us until now." La Venidera thus asks a series of questions to find its own identity, a series of questions, the performer explains, that lead to "questioning everything, not taking anything for granted." And, from there, they encompass all the issues encompassed by Spanish dance: how it is presented, how it should be danced... Consequently, No opens "a space for research, for reflection, for questioning."

But this piece also “hides many hidden messages,” Albert Hernández confesses, and alludes to patience: to “taking time to do things, in this age when everything is moving so fast and we're all in a hurry.”

It is not a memorial performance for Gina Granozio Motta , supported by the Motta family. It is part of the 8th edition of Museo en Danza , a series supported by INAEM , DNA – Festival of Contemporary Dance of Navarra , the Government of Navarra , and Pamplona City Council . Since its inception, it has embodied the MUN's firm commitment to new creations in contemporary dance.