"Es un estilo sincrético estético, patético y diurético, donde se muestran sin ningún pudor, el machismo, el masoquismo, el nihilismo y el valemadrismo inherentes a toda cultura"
"The style is syncretic, aesthetic, pathetic and diuretic, which shows without the slightest shame the macho-ism, masochism, nihilism and that I-don't-give-a-damnism inherent in every culture."
Astrid Hadad (Mexico,1957) looks to cabaret and performance to represent social, cultural, and political crisis in Mexico and, at the same time, to entertain. Her intensity on the stage as she sings, dances, and throws barbs at Mexico’s Sacred Cows is contagious and audience members can often be seen dancing in their seats. Borrowing from Mexico’s rich cultural heritage, her shows consist of fast-paced, fragmented, parodic unveilings of traditional Mexican song, dress, dance, and political satire in which the focus is the female body. In her shows Heavy Nopal, La Multimamada, and La Pecadora she recuperates and articulates the sexuality, sensuality, and human desires suppressed by official morality. In her productions Faxes a Rumberta, Cartas a Dragoberta, Hadad incorporates elements from Mexican visual arts, music, and cinema, along with actions and gestures from popular culture.
Since rejecting institutional support and affiliation early in her career, Hadad has written, produced, managed, and promoted her work, creating audiences throughout Mexico, the U.S., Europe, Australia, Canada, and Latin America. An accomplished vocalist, her music CDs circulate internationally.