Anthropophagic Trilogy: Act 2 – To Resist
“Cubas’ works not only try to think about the ‘others’ who are constructed by hegemonic forces, but also the ‘others’ of the self-empowering, decolonial processes too often lead by local, white, heterosexual, middle-class, cultural elites.” Lucía Naser/Seismopolite
Uruguayan choreographer and artist Tamara Cubas counts among the most distinctive voices on the South American performance scene, while still being largely unknown in Europe. Over 1,000 scattered planks of wood in Act 2 – To Resist provide the shaky ground for a one-hour state of emergency. The vibrations generated by the unstable surface reinforce the trance-like resistance displayed by the five dancers. They symbolise a new form of living together, liberated from superordinate authorities. The tense atmosphere drawing the audience in becomes ever more charged over the course of the performance.
To Resist is the middle part of Tamara Cubas’ Anthropophagic Trilogy, which examines three choreographic works from Brazil, the origin of the cultural anthropophagic movement established in the 1920s in answer to the European culture of dominance. To Resist is intended as an act of resistance against the commercialisation of our emotions and bodies but also against the institutionalisation and hierarchisation of human relationships.
(b. 1972 in Montevideo) lived in political exile with her parents in Havana until the age of 13 before returning to her native Uruguay. The dichotomy between the individual and the collective, concepts of power and institution, decolonisation and all kinds of social and political organisation are just a few examples of the subjects Tamara Cubas tackles in her choreographic and visual projects.
Cubas studied fine arts at the University of the Republic of Uruguay’s National Faculty of Fine Arts as well as art and technology at the Utrecht School of the Arts, plus contemporary dance at the Contradanza school in Montevideo. In May 2015, she represented Uruguay at the 12th Havana Biennial with the “mass performance” Multitud.