Monday, 15 November 2010 16:03

Ah Mén (2004)

Javier Cardona's dance/theater piece Ah mén, created in 2004, is an exploration of masculinity as a social construct. Through the recreation of visual, verbal and bodily texts, six dancer/actors perform the intricate networks of prescription, transmission and enforcement of normative masculinity as maintained by social institutions such as family, church, school and the state. By rendering evident the dynamics of power and violence linked to notions and expectations of masculinity in our collective unconscious, the performers provoke the audience to re-think our preconceptions of what means to "be a man."


Script

icon Ah-mén (esp) (236.13 kB)

Published in Javier Cardona: Works
Monday, 15 November 2010 15:53

You Don't Look Like... (1996, 2003)

You Dont Look Like..., created in 1996, deals with themes of race and identity in Puerto Rico, paying special attention to racial stereotypes pervasive in popular culture and the entertainment industries. Issues of violence, discrimination and racism experienced by Afro Caribbeans are dealt with through the exploration of the relationship between bodies and politics of representation, here performed through experimental juxtapositions of photographs, dance, anecdotes, and direct interaction with the audience.


Script

icon You Don't Look Like... (esp) (120.9 kB)

Published in Javier Cardona: Works
Tuesday, 13 July 2010 17:11

Encarnado (2005)

In 2003, Lia Rodrigues Companhia de Danças was invited by CEASM, the Centre for Study and Social Action at the Favela da Maré, for a residency at the Maré Culture House. Favela da Maré is one of the largest complexes of favelas in Rio de Janeiro, with a population of over 130,000. The initial material for this production was a series of questions: Is it possible to identify with those who suffer? How are we affected by our own pains? What are the things that really count in our lives? How can we break borders and recreate a common territory? How can dance interfere, or even exist, in the context of a reality as tragic as Brazil's? encarnado was created in the space of the favela keeping an open door policy, so that members of the community could watch rehearsals, and the dancers could interact with the community. The assumption was that the body, in contact with a new space, produces a new way of moving, of thinking, of generating new forms of organization.

Published in Lia Rodrigues: Works