Chumbo e Algodão no TAGV – Coimbra 2019
Programa de residência artística – Afroeuropeans – “À margem do cinema português”
“Chumbo e Algodão” é uma narrativa fragmentada da história de um corpo inventado. A sua vida como laboratório é segmentado por várias camadas, são máscaras metafóricas e símbolos da sua existência, desde o ancestral ao contemporâneo.
Um corpo híbrido, transladado entre viagens, dissecado, poli-linguistico e transcultural. Reivindica, sim, ser universal e intemporal. Recebe manchas das sua existência, tornando-se um esboço de si mesmo.
A ideia de tecer uma teia a chumbo e algodão, recorrendo à dança e à arte digital é perceber exactamente os pontos de contraste. Realçando a transformação constante e ininterrupta de camadas visíveis que definem as faces do ser transcultural. desdobra as dimensões ocultas para primeiro plano.
O corpo e a tela de projecção trazem nos seus gestos uma osmose de influências.
O traço dançado, é a pesquisa de movimentos de rituais onde reune a expressão de cada parte desse ser.
As máscaras passam a ser um scroll de projecções de video que se expressam através de palavras, imagens e sons onde a luz é o vórtice fundamental da sua transformação.
Festival dos Canais 2018, Aveiro – Performance “The time before”
with: Teresa Fabião, Sónia Carvalho e Rebecca Moradalizadeh.
“lead and Cotton” Performance Monção 06-07-2018 – Viagem 24h a Africa dance Festival
“lead and Cotton” Performance – Benin / Ouidah – February 2018
New creation Chumbo e algodão / Lead and Cotton
Artistic Team: http://chumboealgodao.eu/index.php/en/artistic-team/
Mask: Pedro e Marisa from Anymamundy
Music: Francesco Valente and Hugo Branco
Video Projection and Mapping: Ivo Reis
Butoh dance support: Paulina Almeida
Chumbo e Algodão (lead and cotton) are two items and materials that are strongly connected to slavery and the slave trade, both references to the historical birth of the mestizo. The term “cultural patchwork” is the one that I suggest in order to understand the mixed race body as a “place” of tension and encounter, the aim being to highlight miscegenation as a mean to challenge the concept of the human race as a genetically “hybrid” race. I relate to the body as places of experiences (in the plural form), particularly through the form and historical contextualization of the mestizo’s body.
It is by dissecting this poly-linguistic and “multicultural” body that I propose to start a journey into the past, but also into the timeless, in order to tell the story of this entity that seeks to identify themselves as a holistic, intercultural and universal being, but also distinct and unique in its own right. In this case, the cultural dualities imposed on the body and not understood, may come forward in moments of revolt, bipolarities and confusion.
Weaving a web of lead and cotton is to perceive exactly the points of contrast between these different facets of the mestizo individual, and to try to untangle the historical ties binding the aggressor, the oppressed and the one in-between, the one serving as a frontier and serving the two opposites, materializing and dematerializing them at the same time.
“Osmose” (2018) – Montanha Pico festival – Pico Island, Açores
Performance: Graça Ochoa, Helena Silva e Vanessa Fernandes
music and video: Vanessa Fernandes
Collaborating with Graça Ochoa and Helena Silva. We embraced this wonderful nature of Pico Island and created a multidisciplinary Performance that mirrored our vision of a place full of mystery.
“Making invisible” (2016)
Music: Pedro Magano
Photography: Joana Oliveira
It’s a performance inspired by the current globalization, which tends to branch physical and moral boundaries to extend over our globe, increasingly and segmenting our intercultural understanding. The boundaries make the visible, invisible.
Making invisible is inspired by Samuel Fosso series, Tati and Le rêve de mon grand Père. It’s a continuum of possible characters of these collections. African bourgeois selling Africa to the settlers, owners of unlimited power creating step by step, block by block, economic, social and political borders, in contrast to the wizard in full implementation of his tasks and rituals. These characters, who nonetheless have their human nature, deal with processing the transformation and multiculturalism ambiguities.
The multicultural patchwork of this scenario is full of details that inspire the luxury overkill of Tati’s characters, part of the same chaos where we find the plastic drums, wigs, plastic bags, wooden logs, jewels, luxury clothes, cowboy hats, canned food, between kitsh, burlesque and traditional African. All these props are scattered in a certain disorder, remembering a chaotic city.
To the sound of a radio broadcasting simulation, the speaker reads letters and posts sent to him, interspersed them with some african music. The themes of these letters inspire questions about post colonialism, borders and cultural invisibility, and make several observations of political, social and economic concerns about a generation in a developing country, confronting realities of a colonial past, still encrusted in the disorder and current instability. While the letters are read, a character, Fatu – a mestizo with a blond wig, with African dress and very bold sunglasses – comes in, grabs the objects and seems to organize the space, she metamorphoses into severeal others characters, as the mobile lawyer, the cowboy, the bourgeois or african king. Gradually, she constructs a structure with the props, a boundary between her and the public. It’s a parcially closed wall, leaving room for a window where the public can still see some of its mutations.
The radio music intensifies, the light brings the night, and the last character is a witch, with her ritual, sacred, mysticism, wrapped in danced movements, will be for the public, impossible to see totally. She leaves, so, the feeling of something hidden and gloomy. The intangible suggests new questions, and curiosity appears as an appendix of the doubt, fear or irony. This voyeurism near Marcel Duchamp Etant Donnés, leaves to the duality of thought, interpretation and stereotype, that are some of the principles of detachment and lack of understanding of the “other.”
Making invisible is an amalgam of languages and languages, a performance on interculturalism. A reflection on the body map and its interaction with the space and its barriers. It’s the will to understand and overcome the boundaries that separate us from each other.
performing African dance