caterinamora2

Performing artist and researcher.
She comes from the territory called Patagonia by expeditionary colonizers, she is a migrant who has the possibility of becoming a legal migrant.
Current PhD candidate at Stockholm University of the Arts (Uniarts). She did apass in Brussels (post-master and Research Center) and she was one of the Artists Trajectory 2021-2023 at WorkSpace Brussels.
Trained in academic and folkloric dance, caterina’s work aims to problematize modes of production and the colonial legacy in the representation of Western dance. Her pedagogical approach uses intimacy as procedure and explores translation as transgression. She got married to have a residency permit on European territory.
She doesn’t have an Instagram account and has never gone into an IKEA store.

Imagine dancing
lights.
Imagine dancing
lights that hang and move before you realize why they are moving.
Imagine dancing
lights that tell you an earthquake is happening because the earth is
moving.
You understand too late what to do in an earthquake. It is already happening when
you realize what is going on in your body and in everything that surrounds your body, the
floor, the walls, the glasses that shatter on the floor, the shelves that follow gravity.
Do you already know what to do during an earthquake? Or at least, do you know, in
theory, what you should do? I mean, it's always different whether you are in a tall building, on
the ground, in a car or at school. Your instincts always put you on alert because you know
that if things happen too quickly, tragedy could strike at any time. That's why you instinctively
always look out for where the ‘epicenter’ was.
Epicenter is a word coined by Irish seismologist Robert Mallet, according to
Wikipedia.
Ekin´s proposal is a continuous, self-provoked earthquake. Shaking in the north with
a crew from the global south. One hour of continuous shaking, from low intensity to high
intensity and low again and high again.
Shaking as
a way to establish an initial relationship between three bodies.
Shaking as
a way to survive while looking for points of support in other bodies, with other bodies.
Shaking as
a political statement in a country where stability
seems to govern.
Shaking as
an obscene reference to the crisis.
When obscenity arises from horror?
Should we inform the reader that two of the dancers had to get their visas to perform
here? Is it that obscene these days?
What if you can´t travel and can´t come to the performance?
We shake to resist.
We shake our grammar to mourn the horror.
Shaking as
something generative, please.
Shaking as
a master's thesis researching epistemic hope.
Shaking a
s a ´Staying-with the-Trouble´-concept to acknowledge the fact that we are
in constant motion.
Shaking as
a way to open a bridge between the tears and fear of broken land and
deviant laughter that comes from insisting on resistance.