The day when TRT emerged as a device for Artistic Research
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The day when TRT emerged as a device for Artistic Research
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When something emerged it feels like power.
What it is?
Ortgasmic research (seductive)
When does a.pass start? When does a.pass end? "el futuro es atrás" "the future is back" (Silvia Rivera Cusicanki)
23 de octubre de 2017
Tomando mate en casa con un amigo. Recibí el mail de Lilia. Y lloré con mi amigo de alegría. (I was drinking "mate" with a friend. I received Lilia´s mail).
In fact, yo ya sabía que venía también por amor (at that moment I was planning to live in Brussels).
The 30th October 2017 I took my flight from Buenos Aires to Brussels.
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In ORDER TO rest --> What do you need to do?
If you can, if you feel like, if you need
I invite you, to rest
(in order to resist, I rest)
(Descansar para desacatar)
How many times have you applied to things? How many times have we not been accepted?
What does the training of "making applications" do?
And what does the training of receive "no" as response do?
I was invited to do the interview in front of a jury. It was a great exercise of confrontation.
And finally I didn´t get in.
Again, for me is important to thanks the people who were involved in that process.
Especially because I fell into an institution that I didn´t know.
I was glad to apply and prefer to keep the joy of the exercise.
Thanks to my tutors Timmy and Esther and especially to my translator/proof reading from Argentina, Mariana.
Thanks to the person from the University who translated a from English to Flemish.
Here you can find the resume of my application
The tittle is missing yes I know
This project proposes to create intercultural bridges between high and low culture by examining internalization of normative constructions in the field of dance.
Firstly, it focuses on reggaeton, a popular genre originated in the Caribbean in the 1990s, characterized by the perreo movement (doggy dancing) inherited from the Afro-descendant slave population. Secondly, it takes the art form ballet emerged in the French Royalty in the 15th century as the first scholar dance program with a codified technique to control and normalize the body.
Considering translation as the rendering/transposing from one language to another, this work engages with its historical perception as a product of degraded task of authorship and non-original result that has allowed women to access Literature.
The question arises: How can the uncontrollable shaking of reggaeton be a device for highlighting normative constructions in Western dance? Can such movement be an empowerment practice?
This project aims to develop a training based on shaking and to perform and register translation from ballet to reggaeton. To reveal the internalization of normative structures in the discipline of dance, it problematizes the notion of translatability and the ideal of perfection. Through the figure of “translatress” and decolonial approach, the methodology deals with the failure to get perfect translations and the emergence of the marginal or bastard issue as destabilizing devices of normative and hegemonic constructions.
The most important thing of this application was that it forced me to create a device of sharing my practise.
The sharing device?
What can I offer?
Inspired from a meeting with Timmy, it emerged "Transversal Training"
“Transversal training” as strategies to claim joy
At this moment, I defined as a body practise. In my application I defined like this:
|Transversal training” (...) invites to experience group training emphasizing uncontrollable movements. Figuring out multiple ways to keep the shaking and putting special attention to transverse abdominals, the physical work seeks the origin of the movement in the force of the push against contact surface. Then, it develops a fast and prolonged dynamics of tensioning and relaxing that pushing action, paying special attention, above all, to the rest of the body structure. The training is shaped by transference of different levels of tension, relationships between sensorial and physical transformations and transit in collective experience. Aiming micro-politics and temporary emancipations, the courses are the results of encounters where transverse abdominals are protagonists.|
- At this moment, I didn´´t know how important/valuable was this exercise
how to share the research-
In the frame of Performatik19, a.pass presented Unsettled Study
18 minutes of a Poor Cheap Bastard Lecture Performance
For this project a.pass provides bright paper, a platform, a microphone like Madonna, cables, speaker, lights and they/we transport the handmade ballet barre. I provide 18 minutes of my embodied research, a plastic crown of 10 cents of euros and music from my cellphone that I bought for 67 euros. This is an attempt to bring high and low culture closer but maybe is too pretentious. I am trying to dance critically: from l'exagération de a sociological situation to the pleasure of mostrar los dientes. All of you are welcome.
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Photos: Alexandre Ismail
This is the Facebook that I created (the last one that I want to do in my life)
For my End presentation at PAF I was busy with:
- how to present/show/explain the translation --> WHAT is that doing?
- how to agradecer / dire "merci" and explicit my feeling of RIQUEZA (wealth, riches, richness) at apass
- how to empower all my grammar mistake in English
- how to "critic" the device of Artistic Research
- how to deal with a lot of techniques and popular dance
- how to empower the bastard, the cheap, the non-complet, the non-perfect.
Here some pictures of my presentation
Maybe if you feel like, you can identify which kind of dances are here.
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(Sorry, it is in Youtube platform because the 3 minutes video in too heavy for WORDPRESS)
Camara: Diego Echegoyen
Here some draws about my translation. I started to doing it step by step.
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p o r t a f o l i o --> qui porte les folios, que pliega la research, that pretends question the vertical format
El "pensamiento" que pliega la research
The thing [THINK] called "Portfolio"
Portfolios are mandatory published from January 2019 (there are just six others Portfolios in a.pass web before us).
I am in the "thanks" of others´s Portfolios, that´s why I start with the "thanks".
I am Caterina Mora and I am listening this argentinian cumbia ( come closer please, click here).
I invite you to listen it.
This Portfolio refuses to be in a PDF format because it refuses to being seen as something vertical and fixed.
This Portfolio has a lot of HIPERLINKS.
It might have grammar mistakes. I am not sorry, but I don´t have budget to ask for Proof reading.
This Portfolio doesn´t have pre-fixed order. You can look at it as you want (it is up to you). It is conceived as a transtructure determined by how apass has been transforming/changing/modifying me.
That´s why there are evident thing and evidence.
You can enter through three options:
chronological order block by block-CLICK HERE
or the filter body practice-CLICK HERE,
or the filter "TRT" - CLICK HERE
apass team: Lilia, Nicolas, Pierre, Vladimir, Michele, Joke.
Special thanks to our technical support, incredible artist of time and resolution: Steven.
The participants: Leo Kay, Elen Braga, Eszter Némethi, Geert Vaes, Hoda Siahtiri, Adrijana Gvozdenović, Pia Louwerens, Eleanor Ivory Weber, Katinka Van Gorkum, Nassia Fourtouni, Goda Palekaitė, Christina Stadlbauer, Deborah Birch, Diego Echegoyen, Flavio Rodrigo, Amelie van Elmbt, Lucia Palladino, Mathilde Maillard, Muslin Brothers, Piero Ramella, Rui Calvo, Signe Frederiksen, Ana Paula Camargo.
The companions of the End-Communications adventure: Laura Pante, Maurice Meewisse.
The helpers: Stefanía Assandri, Alexandre Ismail, Lucas Trouillard, Marina Pessino.
People around me: Susana Paponi, Bernardo, Juan Carlos, Aphra Behn, Elvira Lopez, my family, Ana G., Angeli, María Martha, Ferchu, Josefina. Adela. Y Norbert.
Thanks to this specific places: apass 4th floor, apass 3rd floor, PAF (Saint-Erme, FR) rooms 167, 105, 117 and the garden, the Swamp School (Venice, IT), Unlearning Center (Fribourg, CH).
The mentors: Femke Snelting, Adva Zakai, Kristien Van den Brande, Vladimir Miller, Esteban Donoso, Juan Carlos Toth, Susana Tambutti, Kobe Matthys, Philipp Gehmacher, Philippine Hoegen, Timmy De Laet, Petra Van Brabandt, Sébastien Hendricks, Marie Bardet.
(you can start diretcly from here or coming back to the previous page)
Chronological process --> How evident and evidence things transforms the project and the researcher
The non-skip block (I say non-skip because I was there)
The 17th month or End-Communication
Filtration is the process of separating, grouping, identifying things from things
The filter "body practise" is a fake filter.
It´s fake because it does not intend to regroup or separate anything.
This is the statement:
The only way to think about this research is
by the body,
is through the body,
and going towards the body.
A body that drew specific gesture vocabulary
A body in front of the camera
A body behind or below the camera
A body repeating and repeating (ENSAYOS)
A body in a important museum being photographed
A body doing wrokshops (Phillipe G.)
A body giving things for adoption (capitalism, inflation, verticality, elitism and "missing")
A body lending its body for other research (yes, that's me) - (Geert´s project)
More than one body trying to make sense
Some bodies travelling with others bodies
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Some bodies sharing a.pass space
Some bodies living in a.pass and using scenography as coat rack
A body reclaiming silence
A body quoting other body
The 13th May 2019 emerged TRT --> how did I arrive to it?
(in the dynamics of going through)
This text can be a part of the script for my End-Presentation in PAF
TRT or Trans-Re-Training
Instead to control, it engages with planning of time-work and keep time for contingence events.
It develops transferable skill between readingwritingmoving
The translation is feminist because is looking at gendered dances -->
It encourages evident things (it uses what it has) --> please LISTEN it
TRT is feminism busy with create vocabulary (Projection: thanks Butler), power structures (thanks Femke, she helped me finding something persistent as a problem in my daily life connected also with practice. And this that we find changed both: my daily life and my practice). TRT is feminism busy with conditions of production (thanks Le Roy), contradictions (thanks Petra van Bravandt), abortion law (thanks la marea / the wage) argentina feminista, entertainment (thanks Lilia), promiscuity (thanks Juan), decolonial approach (thanks Lucas), marxism and aesthetic experience (thanks Horacio Banega), Bologna process (thanks Susana and María Martha), BDSM (thank you), Aphra Behn (photo), Elvira Lopez (photo tesis), ways of sharing (thanks Segunda Cuadernos de danza), technical support (thanks Steven) limits and borders (thanks Marie).
This is its desing:
t t t ttttttttttttttttttt
Block curated by Nicolas Galleazzi called here the link
I didn´t prepare this presentation, I was exhauted. The day of my presentation I did the interview for the Pdh. The jury made me a very good question: "which Translation theory are you busy with?"
I started to look into that.
In parallel, I was convinced about continue working on transtalion, but I asked myself: what I am producing with translation? Another "system"? What is doing the repetition of ballet history telling? And the genealogy of reggaeton?
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The 13th I had a mentoring session with one of the person who changed my life/practise. The same person which whom I realised that translation were more important for me than just something temporary. She transforms me.
The 13 th May 2019 emerged TRT Transversal Research Training
Half Way Days
A first essay focus on methodology.
Transoceanic reading --> the aim of this practise question how do we access to reality, how do we inform each other.
Is looking for transunderstanding of transrelationships.
The exercise --> (by two) : read at news from your context // share it // try to find relationship (or imagine it)
Unlearning Center // Friburg
-1- Practising change of roles (I use to be a "follower") and here I am guiding Nicolas.
-2- Training TRT
Two dance courses focus on these pairs: touch and be touched // look at and being looked // resist and rest
-3- The adoptee --> How can the one being seen influence how to be seen?
In parallel, I was living in a.pass, practising, repeating, enjoying apass time,
End presentation - PAF (in the church)
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Here you can find excerpt of the script
Diego, querés cebar mate?)
A FEED-BACK "emu", conmovido, casi sin palabras.
End communication note:
I choose to re-used the performance that I did at Kanal. That ´s why the presentation is called:
"Pa-küru: 47 minutes of a bastard cheap lecture performance".
Interesting references: Donna Haraway last book / Marie Bardet about translation / Katie Briggs: This little art / The new code of conduct by Feminist Movement of Tango in Argentina / Sarah Amed (video) On complaint / Karen Barad: Transmaterialities / Sherry Simon again.
Block curated by Vladimir Miller. Settlement 14
In apass we can "skyp a block". That´s mean that we can dispose more time for our research. I choose that.
In this block I will not talk about my presentations, because in fact I only made the first one. The second and third I did not present, because I was a skipping person.
However, three important things happened in this block:
-------> presentation at Kanal (click HERE) Centre Pompidou in the frame of Performatik 2019
--------> a submission for a Phd that I didn´t get in. But it was fantastic to do it (CLICK here)
-------------> resting FROM a.pass (here CHICK please)
-----------> resting/training/enjoying IN a.pass, as you can in the video
2nd Block, curated by Adva Zakai called MILIEUS, A.PASS MEETS SOL / SCHOOL OF LOVE here the link
The presentation focused on what I did in the 1st Block, my problems and how to open up the discussion around stereotype.
I asked myself: who I am and what is my position in this research? What is the relation between researcher and research? (because Yaguareté didn´t convinced me).
Methodological traps: am I becoming the thing that I am criticizing? // how to resist? // How to deal with the distance of context?
Where I want to go?
What can I add to the critical discussion?
And how to bring Latin-american authors?
Is this Artistic Research? // Do I have a (THE) question of my research?
Travel to Venice and what I want to remember from the Swamp School: I always expect to much of neoliberal events. The “gondoleros” have been using the same t-shirt (striped, a rayas, style "breton" T-shirt) since when? There are Madonnas everywhere in Italy. I saw a italian misa.
I visited for first time the Biennal of Architecture. It was horrible. I saw in the Biennal an event about students in the Turkish Pavillion. I saw the presentation of a girl. She was the only women with velo talking between men. Her presentation it was about a refugee campus. She presented how refugees people build their houses in this campus: in vertical sense. Because there is no space to the side, there is a delimited territory. That´s why they built to up in generations.
Also I saw belgium humour in it pavillion. It was important.
And "the common"? This travel was about that. I didn´t see too much "the common". Who relates to apass? Why are we here? What is doing "School of love" here?
I had a great time, I went to the beach and drank several aperol spritz.
If the common is the one of Swamp School, I don´t want to be part of it.
Half way days
The first time that I presented my obsession with translation HERE
How did I arrive to do translation?
Because in my daily life I needed all the time Google Translator.
In order to bring this need for communication, I started to translate.
Since then I have tried several forms of translation.
- I became obsessed -
La necesidad y dependencia de usar un interlocutor para mi comunicación determinó mi práctica artística.
I started to trying it from BALLET to REGGAETON
The firt thing that I did it was I look at ballet vocabulary, and how one WORD has a meanniing IN - FOR a gesture or movement.
End presentation - PAF
I tried the same structure of HWD. Here are excert of the script:
Zero moment - Soft hanging out → ejercicio del eje/ warming up. 15 min
Voice recorded with Google Translator: Hello everybody. hello, this is a Zero moment - Soft hanging out x 3 - Please rest. lie down. Use the blankets in space. Could you like to warming up with me? Please inhale and exhale let the blood fall. You can follow me. Rebounds a bit, jump, move a bit the space. Shake out the wrists, each leg. Flexion in your knees and please not change of position. changing fingers. Give a punch with weight change and translate in the space. you can exhale and release your voice with a sound. You can be violent.
Un première momento de explanation/transmission of what I am doing
This is a translation of what I am doing at apass in this moment. And what is apass for me.
First. When I got to apass I got excited because I saw in the university with two Macs. There are microphones that work, projectors, cameras. There is one person who helps us with the technique, another with residence papers, another who explains many times about the reimbursements. There is, above all, a general coordinator that contains the situation and who checks the ball. There is also a person who, through his artistic practice, heals the block, and this person will be criticized.
Instead, I come from a university where projectors do not run, that does not consider cables, that does not provide space for rehearsal, that does not provide printers with endless paper.
I feel rich in this context. I realized that it's a choice to work with concepts like trash bastards, simultaneity residue.
Here we spend a lot of paper, it is printed in simple, a lot. We have an open library.
Apass, is for me, even with ugly smell and smell of rat, a paradise that support our work.
We even have a key and alarm to enter when we want,
We have Mohamed who is the celebrant and sings when he cleans. With Mohamed I practice my French. We can buy books, we can pay mentors, we can travel with money from the university for what our project needs. People in apass, rotten food left in the refrigerator or in the closet.
All this for what? To criticize you, me. BUT: what is critically? And who am I to criticize?
So that we focus on Artistic Research, which is a kind of legitimizing process that we are running after. These are our beautiful production conditions. Fuck Artistic Research. YOU. European, white and pretentious. Synthon of artist going to legitimation in academia. YOU. Slippery, elitist, contradictory, indefinable. We love you. Why? Because it gives us power. Why I came here to legitimate my practise?
Sometimes, really, I don’t know and I am thinking in become electrician.
This place, Performing Arts Forum es muy emocionante. Xavier Le Roy went through here and it makes me very nervous to know that I am writing a thesis around the author's figure and that here he created part of the Product of Other Circumstances, nine years ago.
About this work. This about translations. In effect, this text originally written in Spanish and translated by Google translator into English.
I've become better using the translator, because you have to be specific and most of the time google is not that smart. Above all, you have to write short sentences.
This deuxième moment of exposition / transpose of what I am doing tries to explain that I arrived to translation because it became a necessity of my daily life and artistic production. I must admit it was a little difficult to be engage with the translations. I feel scared for sharing this material with you, because are not complete, not virtuous, and quite arbitrary. As I already said, this translations are defined as cheap, bastard, slut or trash translations.
And this way of production is recurrent in all my work. And when you realise your logic production, what is supporting your practise, why are you taking your aesthetic, ethic and political decision, your influences, your history, your interest, you become powerful.
And now I understand why I'm here and I want that legitimation.
Lilia told me at our first coordination session that people leave fortalecida. strengthened
With the help of my mentors, I develop this format that above all, brings me closer to my background. In fact, the study of dance techniques, the reflection on performativity, the considerations around the relation movement and word and the pedagogical questioning about what the experience of a work of art implies, constitute a fundamental part of me. work before apass.
I'm trying to not have the performance pressure, as Vladimir recommended, and to work with the fact that translations are not perfect, in Femke's words. With their help, and also Adva, Lilia and Kristien from he first block.
Thanks all this people and of course you that are supporting my practise. And supporting me, you are changing me.
Finally and as you already know, derniene moment, or troisieme partie, of mediation, transformation that is feed-back integrated into practice. I'll introduce it better later.
At this moment I did the translations
From Reggaeton to Cunningham Technique.
From Graham Technique to Reaggaeton.
And from Contemporary dance (Arenal) to Argentine folklore (Escondido and gato).
3 - Este es el troisième momento experiencing/mediation/transformation of what I am doing.
I invite you to take the same position of support, do 1 or to rotations and then change of partner. For HWD we did this but related to the untranslatable. For this occasion, I invite you to talk about what are the conditions of production that you can recognize are supporting you, that affects your work. in order to produce motivation or limitations or more. Or even, if you can recognize how and why are you busy with the things you're busy with.
Please take the position. DO IT.
Before to talk [ALWAYS] change of role. Last thing, also you can change of partner, of way of support each other, or even change of level, but not go to the floor. Yes?
Again if you need paper or write, there is here.
I start but then I will try to keep silence. I am busy with privileges, pleasure and violence. So, as you see, privileges related to conditions of production, interiorization of violence through the techniques of dance. and pleasure as a source or force with potential disruptive.
Here you can see some photos
In December 2018 I visited Argentina . I went to Buenos Aires, Fiske Menuco, Villarrica, and Santiago de Chile.
Important reading: Shery Simon (Gender in translation) / the matherials writen by me in Spanish about dance and text / phD Tesis by Eugenia Cadus about Dance History in Argentina / Bleshi Lleri / Poliamory / Decolonial approach (Mignolo).
(this gift is made with images of the block)
Before to start: Excerpts from my application // Investigation purpose (2017)
Title: Derivatives around the construction of “the Latin imaginary” in Brussels context
This work takes the reflection as a topic concerning “the Latin imaginary” in Brussels context. As a starting point, it considers “the Latin imaginary” as a construction which is imagined by people who perceive themselves like “Latin people”, in terms of Imagined Communities. The aim is to study how this imaginary is composed of images, desires and motivations depositories that move around in the plot of signs in semio-capitalism.
The questions that give rise to this project are: how is “the Latin imaginary” constructed? Which signs are reproduced by this construction? How are Latin bodies perceived in Brussels context? And how is it possible to make artistic operation on this imaginary?
(...) First block: field work and theoretical tools
Regarding theoretical tools, it is worth mentioning that “the Latin issue” is analysed taking into account the concept of Imagined Communities by Benedict Anderson. As a matter of fact, his work pays attention to the concept of nation, his definition is used here to talk about the “Latin Imaginary Community”. In relation to that, Anderson propounds that “it is imagined as a community, because, regardless of the actual inequality and exploitation that may prevail in each, the nation is always conceived as a deep, horizontal comradeship” (1983: 7). This description is useful to think about the imaginary shared with others in terms of community.
Considering this, the field work relative to “the Latin imaginary” is focused on sign production in the current context of semio-capitalism. In this way, a study of the concept by Franco Berardi (known as Bifo) is carried out; he defined semio-capitalism “when informational technologies make possible a full integration of linguistic labour with capital valorisation” (2009: 149). In other words, when all acts of transformation could be substituted by information and the work process is based on signs combination. Bifo says that economy incorporates factors like instability and indefiniteness when valorisation depended on language, and “in turn language incorporates economic rules of competition, shortage, and overproduction” (2009: 149). Therefore, semiotic overproduction has consequences in the economy and in the psycho-sphere, due to acceleration of perception, which generates a dis-sensitization in bodies, and becomes pathologies and psychotropic drugs dependence. One of the possible ways for facing these symptoms is to go back to the question about body perception on others. In relation to this, the author proposes that “in order to experience the other as a sensorial body, you need time, time to caress and smell. The time for empathy is lacking, because stimulation has become too intense” (2009: 85).
Finally, as a theoretical mention, contributions that promote and accompany these questions are taken into account transversely in relation to "the Latin imaginary”. On the one hand, the perspective of "internal colonialism", which refers to the reproduction of the colonialism towards the interior of the ex-colonies and which takes as a reference the centres of power in the North-Hemisphere (Gonzalez Casanova: 2015). On the other hand, the heteronormativity existing in the perception of the sexed bodies and the stability of the gender, which depends on the alignment among sex and gender (Butler: 1990).
 Due to the absence of a more appropriate terminology to translate “lo latino”, it was chosen the phrase “the Latin imaginary” owing to its relevance in relation to the imaginaries.
1st Block, curated by Pierre Rubio called MILIEUS, ASSOCIATIONS, SIEVES AND OTHER MATTERS…, here the link
It was the first time I explained this project in English, I learned by heart most of my presentation. As you can see in my application, I started looking at the stereotype construction of Latin-imaginary through two concepts: semio-capitalism and imaginary communities. I was busy with how reggaeton videos and specially Despacito framed a stereotyped way of look at "latiness".
Half way days --> LONGER CRI and POCKET CRI
-- Half an hour of latiness, or... or...
A.pass people were invited to be in front of yours computer, anywhere in order to do comments at 15h of Monday 18th June.
That day they received a mail with a link to a first video in the platform Youtube.
The video showed the short plane of Caterina with an analogic voice. The voice invited people to follow a second video and set up the lyrics of a reggeaton, through comments of the video of "Gasoline", one of the first most famous reggetons. The “real” voice of Caterina is only heard when she sings the chorus of the song. And the is translated by the analogical voice:
She likes gasoline (give me more gas),
How she loves gasoline (give me more gas),
She likes gasoline (give me more gas),
How she loves gasoline (give me more gas)
And then the voice invited people to think in imaginary related to Latin people and latiness.
But the second video consisted of a white image for 2 minutes, then a plane of Caterina dancing and then a black image.
This comments were used for set up the lyrics of a song: Reggeaton 1.
Pocket CRI - Zsenne GALLERY
1 min to arrive at the location (Place Jardin des fleurs near to Szenne Gallery)
4 min to propose / choose / set up
Invitation 2 people to reproduce as much as possible one of the screenshot of Despacito. They chose between 4 options.
If people don't want to appear, there were many options to be far away of the camera. It will not be public.
Caterina bring some stuff in order to help in the reproduction and makes them indicate consent to publish photos of the participants .
THOSE PHOTOS are only public for documentation.
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Invitation à The only proposition was bring Latin clothes.
Morning brunch at my home in Ixelles. Invitation to do this parallel activities -->
People were at the garden of where I live.
It was a sunny day.
They marked in maps different places related to latin culture.
Here some pics
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In my room:
- I showed the song that I did and the lyrics. Here you can listen here [audio mp3="https:///www.apass.be/wp-content/uploads/2019/08/Reggaeton-I.mp3"][/audio]
Here you can follow the lyrics
Reggaeton 1 - My EDITION
Hello ton ton ton reggae ton ton ton This is a monologue, Mono mono monolo
Gasoline Gasoline We like don't like gasolineeeee
I see dark hair I see gold jewelry I see sun olive oil I see shiny skin I see barbecue I see god
And so far from god x3 I am so stuck in this Latin body My hips
Everything is dark now x2 its blank its blank You can comment
This is the video Responder sexy body Sexy body RESPONDER
short skirts skin shorts short skirts skin shorts large breasts shake shake
short skirts skin shortsshort skirts skin shorts flat belly the motorcycle
subjects objects x5
or you just don't care
Maradonna was fantastic but I love Messi love Messi Messi"Arriba arriba andele andele"
Sexy ultimate sexy sexy ultimatelatino/latina
i find your spanish difficult to understand x2
I like being latina I enjoy the fantasy of it.Is coolIs not coolIs Colonialists...ooooh
Give me more gas x2This doesn't work, to be or to be, no sound, confused by the media acteur!Yes yes yes yeaaaaah
I don't know about reggaeton
I don't know about lyrics
order insubordination submission I think the second video has some problemsnow I understand sorry KI can see it only in white without any images,is it the same for the others? x3
- After, I asked apass people to choose a part of the lyrics and make a short video with that. They could recognize the lyrics that they wrote, or to choose one prhase. They had to create a movement for that. They shotted each other with the explanation and they could include the clothes. They gave me permission for internal use.
From those videos I did another song. People were strefull because of the task of the camera. They name an anxious problem in my research and in the way that I was producing.
End presentation - PAF
I explained the CRI. I sang both songs and exposed my problems. I said that I was doing a circular mouvement, because I was stereotyping all my view. At that moment, I was trying to understand who I am in the research. That´s why I presented the animal "Yaguateré". I presented the Reggaeton 2 with a an edited a video which has images of apass participants. I prefer to not pubic this video and the lyrics of the Reggaeton 2.
Lyrics of Reggaeton 2
The body is a problem. We are busy with its problems // make sure that we have all the details // she flies // magical realism of South-America
Through imitating movement that I think they are latin but I can not really continue doing like this // I have a serious lack of knowledge of latin culture // I don't know anything that is latin-american
I guess. Start // she give me this hat // C´est ca? C´est ca?
You are completely disarm, freedom, you don't need to protect your body. // You feel good in it, you feel bbq. Leisure time. // body is so a costume, is difficult to get rid of. // to lie down I chose and try to move without moving.
Latino stereotype,I think is not. // Not only because of the latino people //
“The hand of God” is Maradona scored against England. // I bought in Mexico, it has Jesus on it. //
catholicism and the imagery // To me is super latin // Shiny and synthetic.
Over commodify presentation of latino culture. // I am not sure.
Gaze is on the back, someone enjoying it. // knees are flexed, the pelvis is moving back and forward quite fast, // Breast, shoulders, from the left to right, fors coming movements. // Looking in the eyes // is active, seduces. // excites // excites // sexual desire
I could recognize this big problem in my first Block. In Adva´s words: ‘ you stereotype me by asking me to stereotype you’. That´s mean that I was stereotying others.
Somehow, I fell into my own trap.
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I recognize this potentialities of this block, that are potentialities as inputs for transformation:
The "trauma" → caused by necessity to answer, give, produce → the "conditions" of the experiments
Obscenity: how to show the body (connected to media)
In which sense do I want to talk? → stereotype way or not?
Problems of images: how can I expand more, open, and not restrict them?
What is Latin for me, NOW? → SUPER excellent question to continue
What is doing the "the art of super identification"?
The power role of being able to see and be seen --> what is producing the objectification?
Reggaeton genealogy: resistance rythm from Puerto Rico. "Reggae in SPANISH" (important) / perreo is coming from Afro-descendient dispora (persecuted, silencED, acallada). --> how this can appear in the research?
Important readings: the book about Reggaeton (Rivera and others, Duke Press University); BDSM approach (Freud; Barthes; Pat Califia; Foucault), decolonial theory (Silvia River Cusicanki).