May 12, 2018 22:30
A mash up, in music, is a track that’s been created by freely mixing two or more samples, through the appropriation and manipulation of the elements. MASH partly adopts the same principle in the choreographic area, in order to create a new relational dimension, both hybrid and dynamic, where neither of the parts is deleted and exchanges, on contrary, are the continuous.
The cabaret of the early 19 hundreds, the first shock rock performances from the ‘60s, TV programs and dance tutorials from the early ‘90s, unsuspected and well ahead of their time, these are references of varied genre and geographical provenance that make up the universe from which we have drawn to realize a common archive, both visual and conceptual, where everything has been mashed. The key word here is contamination: the focus is not on philological study or on the reproduction of the materials that are put in place but on the dynamic unleashed when the fragments connect to one another and generate something completely new, full of original meaning.
The scene which we inhabit, in constant mutation, becomes the sight of coexistence to which we belong but by which we are also disoriented, that forces us towards an endless process of acclimatization.
An unbroken dynamics of exchange is the baseline of the performance, a simultaneous translation of one another. The accelerated spinning of this mutual translation separates what has become superfluous from the signs, gestures and expressions that are indelibly inscribed in our physical alphabet.
An inter-form is thus generated, composed of mixture of languages of which both of us are the heralds. These languages need not assert themselves and, on the contrary, by not imposing they create the conditions to accept and translate the other, as the only opportunity for a true encounter.
Annamaria Ajmone and Marcela Santander Corvalán