Collection Title: Viveca Vázquez collection
Title: Tour de Fuerza
Alternate Title: Nuevo Latino dance and performance
Date: 1988
Location: Performed at the Dance Theater Workshop in New York City in 1988.
Work Type: Performance., Dance., Contemporary dance., Experimental dance.
Carl Royce, Roberto Guzmán, sound collage designers ; David Ferri, lighting designer.
Mari Martín, Pilar Alamo, Juan del Hierro, Karen Langevin, Viveca Vázquez, performers.
Run-time (hh:mm:ss): 00:51:02
Language: Includes Spanish and English.
Synopsis: 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. Viveca Vázquez is a choreographer, dancer, and a professor of humanities and contemporary dance for actors at the University of Puerto Rico. She presented her first work with Pisotón, the first experimental dance group of Puerto Rico and, shortly after, Taller de Otra Cosa, of which she became the first director. Through the company she presented her choreographic work and produced events such as ‘Rompeforma’ a key festival in the development of the experimental dance and performance scene in Puerto Rico, which was co-produced with Puerto Rican choreographer based in the U.S. Merian Soto. Since 1984 she has produced and performed experimental dance works in the United States, Mexico, Venezuela and Argentina, among a great number of other places. As a teacher she has developed a pedagogical model based on body conscience and improvisation. ‘Tour de fuerza’ was a project conceived and directed by the end of the 1980s by Dance Theater Workshop’s executive director David White. The project 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.
"Materials of the Hemispheric Institute Digital Video Library are protected by copyright. They may not be copied, downloaded, or reproduced. The owner of this work has granted NYU Libraries non-exclusive rights to include this material in the Hemispheric Institute Digital Video Library and to make it accessible to the public for educational and research purposes. Requests to purchase or for permission to use the work should be directed to the owner."
Contact: Viveca Vázquez
Viveca Vázquez