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Tour de Fuerza (1988)
  • Title: Tour de Fuerza
  • Alternate Title: Nuevo Latino dance and performance
  • Holdings: program, video (HIDVL)
  • Duration: 00:51:02
  • Language: English, Spanish
  • Date: 1988
  • Location: Dance Theater Workshop, New York City.
  • Type-Format: dance
  • Cast: Mascando Inglés: Pilar Alamo, Juan Del Hierro, Karen Langevin, Mari Martín, Viveca Vázquez En-tendido: Mari Martín, Karen Langevin, Viveca Vázquez Las Fumadores: Mari Martín, Karen Langevin, Viveca Vázquez
  • Credits: Mascando inglés (Chewing English) (1984): Viveca Vázquez, choreography, sound collage; Carl Royce, sound collage; Lole y Manuel, music; Willie Colón, music; Helecio Milito, music; Convenezuela, music; David Ferri, lighting design; Video D Studios, video recording. Copyright Viveca Vázquez 1988. En-tendido (under-stood) (1988 excerpt): Viveca Vázquez, choreography, sound collage; Roberto Guzmán, sound collage; David Ferri, lighting design; Video D Studios, video recording. Copyright Viveca Vázquez 1988. Las Fumadoras (The Smokers) (1987): Viveca Vázquez, choreography; Fat Pussycat, music; Tom Waits, music; Gabriel Yared, music; UAKTI, music; Dinorah Marzán, music; David Ferri, lighting design.

Tour de Fuerza (1988)

Video documentation of Puerto Rican experimental dance performance Tour de fuerza, choreographed by Viveca Vázquez and performed in New York City’s Dance Theater Workshop. The project was conceived and directed by the end of the 1980s by Dance Theater Workshop’s executive director David White and included works by choreographers, filmmakers, perfomers, visual artists, etc.

This video presents Viveca Vázquez’ participation in the project, which includes three pieces: The first one, Mascando inglés (Chewing English), is an experimental dance choreography that works with the body in the context of the Puerto Rico-U.S. migration and the linguistic displacement that this migration generates. The performers’ bodies oscillate between orientation and disorientation, rhythmic movements and dislocation, sound and silence. These bodies are both linguistically and physically displaced. However, ‘Mascando inglés’ explores the ways in which the language of the body could entail other forms of communication.

The second piece, Entendido (Under-stood), offers a choreography that intends to be synchronized; however, the most important part of this movement is each individual body and its particularities, given that dialogue implies assuming differences. The political content is highlighted by the presence of Puerto Rican and American flags -- a symbol that positions the body between balance and unbalance, and a power that forces a disciplined body to obey several rules at the same time, but also impulses that body to subvert them.

The third piece, Las fumadoras (The Smokers), presents feminine bodies and their relationship between themselves and with various objects. The piece offers a sensation of intimacy and sharing, but also disappearance, silence, and darkness. By the minute the bodies are hardly visible, and only their movements reaffirm that they are a live presence. This physicality is finally accompanied by singing voices, which gives a glimpse of a possible sisterhood and freedom.

 


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