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you

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you

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good morning children colgate Colgate

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toothpaste

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you

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you

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you

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Oh

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okay well um I think it’s really like

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like not eyes this type of film that is

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like probably the worst piece that you

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can show before showing your work is

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really like so beautiful that that

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really is just hard to you wanna put

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anything after and one of the reasons

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why I suggested this film is because I

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thought for me who I have been doing

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work on the afro latino diets or a new

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york for the last 15 years and i took at

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the treatment of popular culture and

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expressive culture such as dance and

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music as part of everyday life is

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extremely well or you know well

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represented in this and i think it is a

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very successful in a way that you really

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understand the significance of gesture

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and sound in his everyday contexts and

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how dance and music become not only a

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space of celebration for a space of

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resistance a space of memory a space of

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history right or of course history in

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this case once you talk about embodiment

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and sound has to do with the present

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tense so it’s not only about the past

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rights always have a history and how

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history is embodied and becomes the

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articulation or the conversation with

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the present so one of the elements of

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this field

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these that Nora in fact is an artist who

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is now in New York and another element

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of her choreography is that she actually

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is incorporating the gestures and

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traditions of the larger afro-latin

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diaspora so there is a scene of the

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fight with the general that she’s doing

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capoeira that is an afro-brazilian

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practice right that are comes from the

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slaves of Angola and that was a a

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martial art right that develops teen in

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Brazil during colonial soon so when the

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colonial authority will shop in this

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context the slaves will pretend they

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were dancing right well in fact they

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were training to to do their rebellions

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and that’s what I know is using in in

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the fight with the colonial authority

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right at Delphi that she has all there

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is the owner section in which is using

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the the ending our choreography that is

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the gestures of a shown that is an

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afro-cuban day today from the Yoruba

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tradition that is a deity of beauty and

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fertility Rite and the color is yellow

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so for me it’s very interesting that

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instead of just using Zimbabwe

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traditions she’s actually incorporating

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the tradition of the larger diaspora to

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tell every story of return and departure

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right as the stuff from this kind of

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this weight of linking her experience to

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LA

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circulation of this deciphered and

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diasporic ax circle so a friend of mine

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Alberto brownie New York once told me

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that the only way to understand Africa

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West Africa was to understand its

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diaspora right and all the experiences

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of African immigrants or refugees in

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Latin America and the Caribbean and I

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think that like a really important

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understanding talk to really figure out

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what is the question of the

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post-colonial subject right once these

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nations have the reason independence

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really right because once you start

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talking about these African nations or

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the Caribbean and you have to start

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talking about like Jeong Jeong

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nation-states writer are like I’m going

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through this process of a you know like

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liberation so I thought I will talk

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about my own projects and once about

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rumba music which is I don’t know how

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many of you are familiar with our roomba

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is a

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an expressive culture in Cuba that is a

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result of colonialism right lie because

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of the Spanish colonial our train of the

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different ethnic groups from Africa

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right these ethnic groups I right to 2

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cubed a kind of workforce to meet each

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other and and work together without

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knowing each other languages or cultures

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right and they were also forced because

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of colonialism to synchronize culture

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Rita the religious beliefs of the

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colonial crown but essentially what room

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buys is a synthesis if you understand or

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if you analyze the sound and the

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gestures of the music form is a

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synthesis of the colonial encounter of

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these different ethnic groups the Congo

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dakara Valley dorada right and of course

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if you think about colonialism and in a

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way Western tradition that separates a

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secular traditions from religious

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practices right it’s not a coincidence

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that room becomes the first secular

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afro-cuban practice that is supposed to

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be like always a celebration on a party

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but once you start really analyzing the

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gesture at the sound its have our also

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spirituality

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your man all these other men like what

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is that happening through the body up to

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the sound right so so for me has been

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interesting about Mumbai is that it

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becomes once more the embodiment of

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memory but once you think about rumba

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practice in New York it changes i’ll be

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right because in fact in Newton who

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those who are the non metals of Central

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Park which are the people I hang around

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with they are actually Dominicans photo

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Ricans economy nians Colombians right

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they’re all up for descendants and they

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use Zumba this circle of like Oh bonding

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okay but again the whole question of how

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do you bond once you are in exile right

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because many of them are either refugees

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or exiles and usually they use rumba I

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know like bomba or other afro-descendant

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traditions as a space of like bonding

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and of course I’m Felicity this is very

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interesting because it’s not like the

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traditional Cuban rumba even though the

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format is the same and they are learning

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like they are strolling room back but in

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our room before many of these are

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performance because like this airspace

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of resistance because probably they

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their experience of racism in their own

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countries or the National narratives

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that constitute a dominican republic

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puerto rico even q are always in

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relationship to whiteness right so room

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becomes inside

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with the space of afro-descendant

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celebration even for Puerto Rican try to

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have their own very strong bond pamplin

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a tradition that are clear African are

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you have American Republic that it has

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all these panels are like all the

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Haitian dominic and tradition rumba

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context airspace of identification and

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so Borat so you know this is something i

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planning in the in this context so i

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guess i’m gonna share a video with you

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essentially i haven’t shown this video

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really because the first reading of the

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video i’m going to show you is that the

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postal dare talk with a raptor i will

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explain briefly what that means is

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making a critique or in a way it sounds

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like he’s making a quick coffee del

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Castro and the discourse of liberation

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is talking about may sound like

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anti-communist rhetoric right and he’s

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part of the bell cello or r after

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generation that came in 1994 to the

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United States as the result of the

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collapse of the Soviet Union and Fidel

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opening the shores and telling people if

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you wanna leave you be so a hundred

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twenty thousand people left and the US

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government took them into one time I’m

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obese right we’re all did al-qaeda

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people were and so but I think that

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that’s like a possible reading but it’s

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a bit like one level drilling I think

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that once you contextualize take the

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Cuban experience of Afro descendants

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within a larger economic system and

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racial system within Cuba prior of the

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revolution right and emergent

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marginalization that that still has a

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presence in contemporary Cuba with all

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its troubles and all the time setbacks

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right and you see once you situate this

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migration as not only political were

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also economic or part of a larger

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history of the Diaspora right that

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doesn’t I think that’s probably a more

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complicated winning of what his own so I

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essentially the video is about that

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journey and he is just making a

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distinction between himself that is a

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rafter that is the generation of

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children that came in night for and they

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most of them are offended or yes the

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third generation of humans who actually

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grew up with the Revolution which is

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very important there was a prior

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migration called Maria XO sauce which

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was a generation of mostly John Cuba’s

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which was also very working-class a very

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high percentage of Afro descendants and

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a high percentage of queer people right

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and that it’s so this is more

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complicated because it was more like

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sexual dissidents working-class people

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who knows

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but also to leave at the peak of the

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success of the revolution so they were

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highly ostracized and they were seen as

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anti-revolutionary okay a these two

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generation of migration migrants is very

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different from earlier qbanguy questions

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prior or right after the Revolution

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which were mostly upper class had a

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permeability had businesses in the

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united states were constantly back and

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forth were mostly white right so of

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course when the Maria arrived there was

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a big shock for what is to be q1 in the

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United States right the face the color

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of the race of why what one was to the

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humor and change dramatically with the

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Marie Alexis so the model is always seen

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as this natural like national I bad

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subject for the revolution for the

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keywords in Miami and for the leverage

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in Latin America because they always

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were like all these people have the

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trailers of the revolution like the bar

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service is like a different story they

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really like having handle being caught

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into these are narrative of the right

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wing of exiles as life goes against the

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revolution rally the bar salesmen

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because they grow up under the

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revolution they having a similar into

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that narrative of anti-castro boat so

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this is kind of the political context

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and I just wanted to

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these places calm in exile and and of

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course what is really happy scowl again

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sound and movement and choreography I’m

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telling like a different story or an

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eternity story that has to be with a

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larger diaspora and discourses of

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freedom right

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you

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