Inspired by the avant-garde of the early 20th century, Nanaism was born as a protest to the cultural and ethical degradation of our society. Not only do we live an economic crisis, but we also live in a crisis of values and attitudes. We suffer from severe nihilism. Our world gets poorer in the middle of a big roar. We don’t read anymore, we fear silence and we have stablished herd behaviors. Worried by this situation, we the Nanaists, creators as well as supporters, are the rebels of the negation. For Camus, the rebel was one who knew to say “no”. The rebellion comes with the feeling of having somewhat, somehow, reason: “the rebellion has its origin in the awareness, in the knowledge”. From this intimate security that the welfare society has created a big herd of thankful stomachs where the anomie, the moral relativism and the apathy reign, the Nanaists, a group of rebels whose origin is the awareness of knowledge, we defend the following credo:


1.Claim of the Spanish surrealism. Though surprising, the Iberian surrealism emerged during the Spanish Golden Century with the picaresque novel, Cervantes (through its quixotic dialectic) and the mordacity of Lope de Vega, Gongora and Quevedo. However, we did have to wait until the 20th century to meet the second pick of the genre. Antonio de Lara known as Tono, member of the Other 27 with Miguel Mihura, Edgar Neville, Enrique Herreros, etc. said: “Our generation was a real precursor generation as even now they still make fun of us”. And Pedro Laín Entralgo noted: “There is a Generation of the 27, the one of the poets and another Generation of the 27, the one of the renovators – or rather, the creators – of the contemporary humor”. The Nanaists, we aim to take over that Other 27 and use its humor, elegance, surrealism and magnificence, to dissect reality. If the channels used by the intellectuals of the Other 27 were the magazines and the theatre, we will add the cinema, the music, the dance and the plastic arts. Any channel is valid so that they keep making fun of us in a century. The fruits of the generation of La Codorniz were called Luis García Berlanga y Rafael Azcona. In their movies, we laughed as much as we cried. That is the cinema we aim to create: absurd, hilarious critic, subtle and extremely sensible. Sometimes barbarous, but always such a part of us.

2. We create from the Classics and the Antiquity. As we haven’t found the Fountain of Eternal Youth yet, we drink from Socrates, his disciple Xenophon, Pliny the Elder and Cicero. Rafaél Gomez, known as EL Gallo, supported that the classic was what we couldn’t improve. The Nanaists, we don’t break with the past, we go deeper in order to keep building. As big filmmakers, we learn to make films by watching John Ford’s movies attentively, starting with The Searchers.

3. Our leitmotiv is the pursuit rather than the proper conquest (maybe that’s why we sympathize with Ulysses). Each morning, we reread the Myth of the Sisyphus. The creator’s task has to be the same as the one from a tireless Sisyphus, that even knowing relentlessly the impossibility of its commitment, he doesn’t give up in his mission. Saint Augustine wrote: “We will search as if we were about to find, but we will never find but having to search always

4. We defend “natural effects” above “special ones”. Ramón Gomez de la Serna said that in what the civilization moves forward is in the perfection of containers. As Hegel, we claim the form in accordance with the bottom, no matter how much this upsets the Platonic idealism.

5. The bullfighting is a sacred rite: the only hope to be free and the last opportunity to continue to exist.

6. A hobby for each of our senses and, for our favorite one, two hobbies. It is because of that that we have the firm purpose to recover the idea of a “living space of experimentation of our senses” that the sculptor Alberto Sanchez defended. The tenth command of the School of Vallecas preached with knowledge: “First the gluttony and the sleep, the lust and the outburst…”.

7. We enjoy the Grandeur, or at least what remains of it. This means, we admire the delicacy and refinement of the French culture. Its carrying capacity dazzles us, creating universal French from talents born in other lands. We are absolutely Francophiles in spite of Napoleon and some other detail that we overlook. We get captivated by its philosophy and literature, the pictorial art and the chanson. Our sybaritism, inherited undoubtedly from the French, obliges us to end our meals with a piece of dark chocolate.

8. In Spain, our main sources of wealth are the language, the artistic legacy, the local gastronomy and the mild climate. Paradoxically, we don’t maximize any of them. Another non-negotiable tradition for a good Nanaist is napping, the Iberian yoga as Cela used to say.

9. We preserve the popular music, the one that emerges and dies in the hearts of the villages. It reflects what the soul does not have, that is why music from sad villages is joyful and music from joyful villages is sad. All the romantics have loved the popular music, because it offers an imaginary past, sometimes even heroism.

10. As Nanaists we are conscious or unconsciously from the Atletico de Madrid, the only team that had supporters even before its existence just as in the case of Marco Aurelio, Mariano José de Lara, Nietzsche, Schopenhauer or Dostoyevsky. Being from the Atletico de Madrid involves a particular way to confront life.

The real Nanaist does not discriminate, he understand the diversity of colors. We are an open group seeking to found other living beings ready to find the hidden beauty of the ruins.

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