This work is based on the metaphor shared by several indigenous peoples of the Americas (the Navajo in the North and the Koguis in the Caribbean) about how the future is on the horizon and the past is behind us.

Equipped with two “maracones” (traditional Colombian Caribbean seeds instruments) The performer does an exploration of resonance in space and creates a fragment that explores the perception of time and the differentiation of sound, silence, and echo.

Questions arose about how sound is perceived as an immaterial property and how instruments fluctuate between the noise, the sound, and the rhythm to generate a dramaturgical discourse. This exploration with the “maracones” was an investigation of their sonic potential within an enclosed space that generated multiple reverberations. 

The reverberation of “Maracones” generates a sonorous image of multiplicity. The sound is multiplied by thousands through the intensity with which the maracones are played – Joe Keleher

All the singularity, charged with History, shouted out in the darkness, bringing life to each and every dried grain of the maracas – Claudia Castellucci


Esta obra se basa en la metáfora compartida por varios pueblos indígenas de las Américas (los Navajo en el Norte y los Koguis en el Caribe) de que el futuro está en el horizonte y el pasado queda atrás.

Equipado con dos “maracones” (instrumentos tradicionales colombianos con semillas caribeñas), el intérprete explora la resonancia en el espacio y crea un fragmento que explora la percepción del tiempo y la diferenciación del sonido, el silencio y el eco.

Surgen preguntas sobre cómo se percibe el sonido como una propiedad inmaterial y cómo los instrumentos flotan entre el ruido, el sonido y el ritmo para generar un discurso dramatúrgico. Esta exploración con los “maracones” fue una investigación de su potencial sónico dentro de un espacio cerrado que generaba múltiples reverberaciones. 

La reverberación de los maracones generó una imagen sonora de multiplicidad. El sonido multiplicado por miles a través de la intensidad con la que se tocaron los maracones – Joe Keleher

Todas las singularidades, cargadas de historia, gritaban en la oscuridad, dando vida a cada grano seco de las maracas – Claudia Castellucci


Questo lavoro si basa sulla metafora condivisa da diversi popoli indigeni delle Americhe (i Navajo nel Nord e i Koguis nei Caraibi) secondo cui il futuro è all’orizzonte e il passato è alle spalle.

Dotato di due “maracones” (strumenti tradizionali colombiani a seme caraibico), il performer esplora la risonanza nello spazio e crea un frammento che esplora la percezione del tempo e la differenziazione di suono, silenzio ed eco.

Sono emerse domande su come il suono sia percepito come una proprietà immateriale e su come gli strumenti fluttuino tra il rumore, il suono e il ritmo per generare un discorso drammaturgico. Questa esplorazione con i “maracones” è stata un’indagine del loro potenziale sonoro all’interno di uno spazio chiuso che ha generato molteplici riverberi. 

Il riverbero dei “maracones” genera un’immagine sonora di molteplicità. Il suono moltiplicato per migliaia attraversol’intensità con cui sono stati suonati le maracas – Joe Keleher

Tutte le singolarità, cariche di Storia, gridavano nell’oscurità, dando vita a ogni singolo grano secco delle maracas – Claudia Castellucci

Idea and creation:
Cistifellea Collective

Nico Yurgaki

Sound design and live sound:
Nico Yurgaki

Stage direction: 
Elena Tilli

Cistifellea Collective

Previous slide
Next slide


Composer, pianist, guitarist and percussionist specialized in Jazz and Afro-Caribbean music. Creator of soundtracks for audiovisuals and performing arts.
Song writer.
Double degree in Jazz Piano from the Universidad Javeriana de Bogotá, Colombia and the Escuela Superior de Música de Catauña, Spain.

Nicolás is the co-founder of the Cistifellea Collective together with the director and stage designer Elena Tilli, where he works as a sound designer, performer, and writer. His practice of improvisation and his emphatic approach during the process offers unique possibilities.

He investigates unconventional forms of participation of the public while attending a performance and as inspiration to his process with sound. He develops specific tools for interaction and builds custom-based small-scale instruments.

Using software, and electronic sounds, together with live played instruments, Nicolas allows himself a fullscale exploration that together with his wide versatility as a musician and composer, opens up a high level of complexity that translates into a beautiful, inspiring, and sometimes provocative experience for the public.

Nicolas is also a singer-songwriter, leader, and manager of the independent musical project Yurgaki since 2005.

Composer and co-producer of the projects Candombe Tierra, Sones de Marimba, Chonta Dura, in Barcelona.
His work has been presented internationally in countries such as Ecuador, United States, France, Italy, Croatia, Romania, Ecuador, Morocco, Azerbaijan, Colombia and Spain.
Nicolás also works as an educator for children, youth and adults. He promotes Afro-Caribbean music around the world through concerts and workshops where he spreads various musical genres, disseminating traditional music and transforming it through his own compositions.

Find out more at



Elena is a multidisciplinary artist.

She insists on the body as the epicenter of scenic language while researching, studying, developing post-dramatic approaches to technological constructions she develops, engineers and builds.

Elena is the co-founder of the Cistifellea Collective together with the musician Nicolas Cristancho, in which she directs, and builds scenery, machines, and media design. She is also a video designer in the theater and her collaborations have been seen at The Kitchen Theater in New York, at the Barichstaadt Opera in Munich, and in public theaters in Barcelona.

After graduating in mechanical engineering (MA), Elena completed her education at Yale School of Drama studying Technical Design and Production and Design for Theater. She completed the three years program held by Claudia Castellucci at Scuola Conia Raffaello Sanzio focused on the Theory of Scenic Representation. Since 2021 Elena is an alumni Fellow at the Akademie für Theater und Digitalität, Dortmund with which she continues to partner and develop her work.

Elena creates visual experiences combining technical and technological elements, for a variety of artistic applications, such as performance, installations and theater productions. Her practice focuses on the process and aims to develop dramaturgies that inhabit technology, always guided by the commitment to find in the collaboration a unique and essential value.

n 2023 she directs, stage and technology design Coded Rituals together with Camila Scholtbach and NIcolas Yurgaki. The performance is co-produced by Cistifellea Collective and Theater Im Depot and it opened the Festival Beyond Gravity in November 2023.
In 2022, the performance Presence of Absent was funded by the Kulturbüro of the city of Dortmund and the NRW Kultur Sekretariät as part of the project Distant Land Vol I. It was seen at Lake Studios Berlin as a work in progress and later premiered at Theater Im Depot in February 2023.
With Cistifellea she directed the performances/long theater pieces Codes of Absence (2023), Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021), El Silencio no Existe (2020).

In 2023 she was the video designer and technologist in the theater piece Nomadas, premiering at Teatro OBando, Lisbon in April.
She also assisted video designer Susanne Steinmassl as a stage live camera coordinator, content creator and film editor in Die Nibelungen Festspiele in Worms in 2023.

In September 2022 she was part of Digital Body Archive residency at Lake Studios Berlin. Here she began, together with more than 15 fellows a research focusing on the principle of “no technology before need” (as suggested by TroikaRanch) as a start, to then tailor the technology she wanted to see by creating artwork that uses/misuses tech that was available.

In September 2022 she was also part of te project Togather with the installation titled Unlearning Journey into a virtual body. The project was funded by NRW Kultur Sekretariät and premiered at Favoriten Festival 2022 – Unlearning for Possible Futures.

With Cistifellea she directed the performances/long theater pieces Codes of Absence (2023), Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021), El Silencio no Existe (2020).

Find out more at