Project “Takora”, Tacna, South Perú.
The second month of my placement in Tacna, South Peru, is almost over. It consists in artistic collaboration with Theater Group Deciertopicante (DCP) and, among others, it has as objective the strengthening of the role and importance of arts and culture in development, involving creative methods.
DCP is based in Teatro Orfeon. This small theater is dated 1850, it's really old and full of “fantasmas”. It needs an urgent renovation, but there are no founds for it. Probably, by the next stronger earthquake it might collapse. Also, I was asked to not push the walls while rehearsing as it might bring the same effect... Still, the atmosphere inside remains inspiring.
Our project is called “Takora” - as one of the volcano's in the horizon - and it is focused on performances in non-conventional spaces. I give training of contemporary dance, composition and improvisation. "Takora" embraces several activities: basic and advanced workshop for members of Deciertopicante, dance improvisation performances every month, 2 productions, basic workshop of video as well personal research inlands.
We have rehearsals every day in the evenings. During the daytime, the members of DCP are busy with their other jobs, academies or internships (mainly as teachers of fine arts in schools). The theater education does not exist. All actors are passioned autodidacts.
The first difficulty in this process considered the introduction of contemporary dance as artistic language. It was necessary to built a mutual trust and respect for our work. The challenge was, and still remains, how to make "dance" actors, who have never had any dance training nor have seen any performance of contemporary dance? Fortunately, with the director of DCP, Roberto Palza, they used strong physical training in their daily rehearsals before my arrival.
I also stressed goals where do I want to take them in this 6 months and what do I want to leave behind after my departure back to Europe. This transfer of experience and knowledge runs not only on the level of introducing new artistic language but also on the level of personal development, where limitations transform into opportunities.
In Tacna, I observe a lack of artistic proposition for other audiences, but children. This is due to the fact, that this target group- parents- are eager to pay for the performances or workshops for children and this facilitates to cover the rent of the theater space.
Yet a demand from other social groups does not exist because no curiosity or need is provoked. DCP and its artistic leader, Roberto Palza, would like to benefit from our collaboration to generate artistic innovation in the city of Tacna and strengthen the DCP's role of culture catalyst in the city.
The first occasion to make it in practice, was my solo improvisation evening called "Mudanzas" what means move; change. Before the event, we have been interviewed in 2 radios and benefit this time “on air” to talk about important topics: the need for ART as karma for the soul enriching individual's development and the "death" of Teatro Municipal (City Theater), which remains closed and what could be done about it.
On the evening of my solo performance the audience was really large- around 70 people came and were arriving till an hour later, when we already had a post-talk. I heard, that such a high attendance was due to the free entrance. Probably if they would have to buy a ticket even for 1 Sol, there would have come half of the public.Before the performance, I felt too much pressure on my shoulders. The responsibility to represent "all" contemporary dance of Europe, as it was announced in the radio, was too much. Latinos like to exaggerate, but still, Tacna has never seen a contemporary dance performance before. After the show, the public was eagerly sharing their impressions. The most touching comment, I heard from one of my students, who got very emotional by seeing something for the first time in his life, something what he always wanted to see but didn't have access to. I felt strongly, how worth it was to come here.
