Originally from Barcelona, Aina Alegre has an eclectic background that combines physical practices such as dance, music, gymnastics, and musical theater with theoretical approaches such as sociology, which she studied before pursuing a degree in dance in 2007. In other words, the choreographer’s current focus on working with multiple languages and different forms of physical expression is no accident. Curious by nature, Aina Alegre has always been interested in a diversity of dance styles, techniques, and bodies.

While Aina Alegre’s conception of dance is not sectarian, it was in France, as part of the introductory training program spearheaded by Emmanuelle Huynh, then director of the CNDC in Angers, that the Catalan dancer gradually established herself as a contemporary choreographer and developed her own distinctive style, steeped in the social and folk dances of the Mediterranean that have shaped her bodily experience and populate her choreographic imagination.

Following her first solo project, titled LA MAJA DESNUDA DICE, in 2011—in which she revisited a series of archetypal female poses drawn from the history of photography, film, and advertising—she continued her exploration of gender representation norms, this time focusing on bodies in ecstasy, such as those of gymnasts, athletes, majorettes, Greek statues, or classical dancers, in NO SE TRATA DE UN DESNUDO MITOLÓGICO, created in 2012. This was followed by group pieces: DÉLICES in 2015, LE JOUR DE LA BÊTE in 2017, and LA NUIT NOS AUTRES in 2019.

Each of these creations serves as a laboratory for experimenting with relationships to others: fusion, accumulation, duplication… The aim is not to tell a story, but to form a group and to explore what happens within and between the performers’ bodies based on a shared choreographic motif.

In 2020, she co-created CONCRERTO with David Wampach and premiered R-A-U-X-A, a solo piece conceived and presented as a trio featuring Aina Alegre’s dance, Jan Fedinger’s lighting, and Josep Tutusaus’s music. Here, the collective dynamic unfolds through multidisciplinary collaboration.

It was with THIS IS NOT (AN ACT OF LOVE & RESISTANCE), created in 2022, that Aina Alegre established herself as a “choreographer of music” —not only because the musicians share the stage with the dancers, but also because the choreographic score fully integrates movement and sound, without distinguishing between body or instrument.

The choreographer’s taste for working with live music—already recognizable in CONCRERTO and R.A.U.X.A.—further developed in the pieces that followed. After THIS IS NOT (AN ACT OF LOVE & RESISTANCE), which brings together four brass musicians and five dancers on stage, FUGACES, created in 2025, added trombonist Maria Cofan to the ensemble of seven performers on stage. In 2026, AT DAWN, a performance created as part of the New Orleans Dance Festival with the support of the Villa Albertine, revealed the early stages of a reflection on dance and music as vehicles for resistance and collective transformation – a reflection that continued in 2027 with RODA, a large-scale production bringing together five brass band musicians and eight dancers.

Aina Alegre enjoys working with performers from all walks of life—whether they are dancers or musicians—as well as seasoned professionals with whom she explores issues of performance, as in FUGACES, apprentices to whom she imparts the guiding principles of her creative process, as in SWING-MOTOR, or amateurs for whom she devises a festive, collective ceremony, as in PARADES & DÉSOBEISSANCES. For her, the relationship with others is a driving force behind her creativity.

It was with this spirit of open-mindedness that, in 2018, she undertook a research project on the gestural motif of hammering, which has been a hallmark of her work since the beginning of her career. Presented as “a series of site-specific performances created from a collection of gestures, dances, and narratives,” her ETUDES lead the artist to explore physical techniques as diverse as traditional Basque dance, shamanism, and drumming. This long-term research project resulted in eight works presented in different contexts, in formats tailored to the materials collected by the choreographer.

In addition to stage productions presented in France and abroad—as part of programs organized by choreographic and multidisciplinary organizations or within the framework of festivals—Aina Alegre also creates site-specific works, specifically designed for unique environments, architectural settings, or specific audiences. In 2021, she created ETUDE 4, FANDANGO ET AUTRES CADENCES as part of the “Vive le sujet!” program, co-produced with the SACD for the Avignon Festival. 

In 2023, she opened the Marseille Festival with PARADES & DÉSOBÉISSANCES, presented at Fort St. Nicolas in Entrecasteaux, and performed again in 2024 at the Palais des Sports in Grenoble, Barcelona, Annecy, Lyon, and elsewhere… Since May 2024, she has been performing regularly in museum settings, with BLAU, a solo piece originally conceived for the Miró exhibition at the Musée de Grenoble, and AURA, presented at the Musée de l’Orangerie…

In 2014, she founded the STUDIO FICTIF company in Paris to accompany her projects and creations. Since 2023, Aina Alegre has co-directed the National Choreographic Center of Grenoble with dancer Yannick Hugron, and through various initiatives within the institution, she demonstrates her commitment to championing choreographic creation for everyone, fostering a broad, demanding, and inclusive vision of contemporary dance—much like her own work as a choreographer.