I had recently wrapped up a European vacation and was getting acclimated to life in the Midwest and we connected over their Wisconsin roots and their love of travel — they had recently embarked on a 3-month European backpacking trip! As most introductions usually are, it always feels strange, especially in this digital world we live in call me old fashioned. But it only took a few conversations and reviewing their website and IG to see that we had synergy and a similar mission.
This couple is goals, truly! They run their travel blog that serves as such an incredible resource covering topics when it comes to budget travel, outfitting your very own camper van if you are up for the challenge, curated itineraries, destination guides, and so much more. Their articles are filled with beneficial information that truly serves a community of people who share that same wanderlust. But Liana and Tom are tried and true… what you see is what you get with an open arm, open mind mantra — people who love people, people who love life.
Fast forward to January For those living in Southeast Wisconsin, the Kettle Moraine State Forest is not a far drive and has some great hiking trails. Well, the snow was deep up to my knees practically and out of the 4 of us, friend and photographer Gina from GE Creative brought snowshoes another friend I met courtesy of social media. Thank goodness, because she truly blazed the trail for us to follow slowly and breathlessly behind.
The minute we met, it was comfortable, as if we were old friends seeing each other after a long while and wanting to take the time to catch up. The trek is described as moderate, with a 3. Connection, man is it a beautiful thing. We ended our hike by climbing the foot observation tower that gives a pretty great panoramic view of the forest and surrounding areas.
We said our goodbyes only followed by our hopeful see-you-laters! Liana and Tom have some amazing adventures planned this year, so I would suggest following them if you too have the travel bug! How true that is. The artist dared and used the body to mingle with the people, bringing the theme of the morro, the art of the periphery, the issue of elitisation and intellectualization of art, affirming the marginal experience as a re-existence to imposed social paradigms. The works of Oiticica question, from the incorporation to his art of sensory materials coming from the experience in the morro, preconceived ideas that link the poverty and the race to a naturalization of what is on the margin, which is different and does not fit in the social values, as dangerous and worthless.
Here in Brazil, during the military dictatorship, this idea of the internal enemy of the process of nation development was intimately linked to all of those who went against the imposed standards. For the anthropologist, this is also an anthropophagic act: take from the rich, pulling from Europe and the US and give to the global peripheries. This sharing is a frame of time and space, of the visible and the invisible, of the word, and the noise that defines the place and what is at stake in politics, in the common life of cities.
Art that is not to be shown, but lived. In the current scenario, the work of the artist Paulo Nazareth s. We can affirm the artist as a contemporary flaneur who creates a cartography of the present and a body receptacle of experiences, sensations, memories, posing questions that blur the specialties of art. The kind of art that addresses the issue of borders in a globalized world, the issue of the colonized peoples of Latin America, of the mestizo people of America, of the relationship with the inhabiting of the body in the city in the contemporary world, the force of savage capitalism in our country, etc.
Paulo Nazareth s. The artist collects traces, finds people, establishes relationships, draws affective threads between geographical borders, allows the body to be marked by impressions, mixes with space and gains meaning in the drift and movement of being marked by the world. He walks barefoot from the south to the north, from the colonized world to the colonizing world, reversing the world map, taking the dust of places with his feet, letting his flesh be imprinted over the world with his footsteps, leaving footprints and carrying dust from the places on the soles of his feet, taking all the dust from Latin America to be washed in some corner of the United States 9.
He walks to get rid of the idea of permanence. The experience of weaving networks on the map stratified by borders that are not merely geopolitical in the globalized world. Like an Arachnean, wandering, he weaves webs, relationship networks that abolish boundaries, connecting art and life. We also write after wandering, we write while we wander.
We walk, and our skin meets the texture of space, then we weave new layers of time, new body films. Our dance is made with the space: sometimes being just a walk, sometimes a stop, sometimes reading a text in the square or dancing for the women at the window, sometimes flowing down the salt stone.
By wandering unintentionally and with attention to the present moment and the space between bodies, we widen the fabric of time, paint new colors and textures in space and create at every step a new body. We wander to affirm the body in motion as an ethical, aesthetic and political exercise.
We create graphies of the body in the city by letting the space graph the body during the wandering, and the body graphing the space during the writing. The writing becomes a gesture of thought, unfolding from the body that has wandered through the cities of the world. Walking and wandering, we try to capture how each everyday situation can gain new rhythm. Wandering, every bit of time creates fissures and undoes the rigid durations and hard boundaries.
Inspiration that helps us think about the relationship between art and city, body and politics. As you wander around the city, the body breaks out of an internalized self and then can accept in its skin the strangeness, the difference, the not-knowing. The wandering makes art a daily element, which weaves trust networks between bodies in the city.
The artistic experimentation is taken as producing meaning as sensation, concept and direction and not just aesthetic creation. According to Canton , the problems involving large cities cannot be solved by artistic creations, but affection can create a communication channel between persons who share the same urban space and the same political and social context.
Art can intervene, create space-time fissures, create spaces of openness in the congestion of the senses, in the indifference and intolerances to alterities and inequalities. Our gestures of wandering around the Morro, with no prior intention or prediction and with much provision and profusion of matters, affirm themselves as a political gesture of opening cracks in the space-time of the city.
The body pursued the desire to find the flashes of the fireflies, as in the words of Didi-Huberman , creating small elevetions in the city. The days weigh on the Wonder City that awaits the Olympic Games. A city that screams. If it could speak, it could tell us so many stories that the media speed would not be able to handle.
Today, only one street vendor resists before the municipal guard, who, at least today, uses words, not force. Bruna is on her way. Nothing had been disclosed on the news by that time, but we knew that the oppressive violence of the State is acting and trying to undermine the revolutionary force of our youth. The girls arrive, and we talk about this gray cloud above us.
The same cloud that weighs, brings the light of days. As a resident of the port region, she witnesses the paradoxes of the changes in the city. Now it is good to walk there, the sea breeze arrives, the birds can dance in the wind, but these streets do not shelter those people forsaken by the social order anymore. I think on the gesture of grabreleasing 10 that we propose to do once again. I think and Laura points to a white stick lost at Casa Porto, and our bodies become in tune with the shared gesture and we continue grabreleased in the streets of the pier. The movements need to be aware of the inside interlaced space of the relationship and of the outside the movements taken from the drifts thorugh the pier.
The whole body itself also needs to grabrelease: the preconceived ideas, the determined directions; and it floats. The body captures the space and creates a space in relation, in composition. We stay side by side to weave a time-temple one-with-the-others. Everything that the eye sees, it sees-with, we form a body-with.
Time is extended, and space is drifting. We are a web in motion. It feels like my body has multiplied its directions in space and sees-feels the flight of birds, the sea breeze, the walls of buildings, everything touching and transforming us, going through us in a multi-sensory sex in which, in fact, tamojunto Image 4. We are so close together that our bodies move the space. We are all women. We are three women with the strength of a crowd. We walk through the pier and the only other woman who shares that place with us is a woman who works in one of the buildings already opened. We are three grabbedreleased women and many men are astonished by our gesture: at first, they look at the women, and when they see the object that entwines us, they look at us again in a long and strange gesture.
We are only women in a paradoxical gesture that originally was for nothing, to wander, but that, after the gaze of the construction worker on the pier, takes on a displacement tone: no, it is not just women wandering alone by the pier, they carry an object for nothing, to wander, they are together, intertwined, and grabbedreleased Image 5. We found a way to the Morro and we went there. It calls us, and we follow. We go through a new path. We pass through the works of the Wonder city and once again we found the misplaced gaze of men who were always trying to see our asses, but now look at the stick we grabrelease.
We look through the hole in the gate and a man came out. He looked like the inspector and also a madman in the asylum.
Wandering in Wonder
This man could be a madman from an asylum, a convict, but, he was all this and a school inspector. I say that it seems to be an elementary school, it should not be a state school, thus it is not on strike. He looks at me in the midst of his disjointed screams and says, Exactly. There is no such thing here. They are small children. He seems, at the same time, to be outraged and to support the dominant speech. A mother and a child come out, the mother smiles and the image does not stick: her smile and the darkness of that place.
We left with a strong feeling that a window opened for us in that scene.
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A window that shows the contradictions of our present time. This text makes so much sense here-now. We need to ventilate the institution, occupy with affection to remove the disciplinary moths that annihilate life. We need to take care more than to break, to occupy with love to create new spaces within the space itself. There our body becomes lighter, the tension in the eyes of others is no longer present. There, we can even venture to gather herbs for a tea Image 7 and rest our skin and breathe smoothly and find a gap in space Tear the film of space and ours too, to tear ourselves into an encounter.
Three women holding a stick.
In our research, we understand our doing as an action of affective occupation of the body in-with space. The drifts and wandering around the corners of the Morro triggered in us two cartographic gestures, namely: photo-graphs 12 , which are image records made during the experiment; and text-graphs, which are texts written after the occupation gesture. We understand that our gestures perform worlds, creating new visibilities through photo-graphs and new narratives through text-graphs. Our drift departed from Casa Porto, a space that is a partner of research, located at the base of the Morro, in Largo da Prainha.
At Casa Porto, we read, receive partners, talk about drifting, draw on the map of the region our route in the previous meeting. We do not stretch, we exercise the contraction of the collective, paying attention to being together. Our muscles help us to create an opening body to see, hear and feel with all our skin the curves, reliefs, colors, sounds and textures of the Morro.
Our action is done in acts, presence, in a relationship of intensive influence with the space around. Our bodies do not draw narratives, or tell stories. Our route is neither planned nor prepared.
We can say that it is the movement of the drift that creates a body in a performance state and not the opposite. The drift separates us from the limits of the name and personal history at the same moment in which it calls the intensive presence of the body.
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In our research, narratives are creations a posteriori and always narrate a shared experience. Here, we address performance as a field of the arts that is in line with our actions. We are not performers, but dance researchers-artists who understand dance beyond choreography, affirming new core-grafias body and writing in Greek as political gestures in the city. We are interested in the performance studies, however, for activating new intensities and states of body and affirming the indiscernibility between art and life, body and politics. Performing here is thus to inhabit a threshold space between subjectivity and the world.
Performance sets the body as a space for experimentation, investigation and creation. For Renato Cohen , the performance lies in a limit-space between visual and performing arts. Performance, as an art of rupture, is in line with the advent of modernity and the beginning of the twentieth century, when experimentation with the sensitive body strengthens. For Cohen, performance is an art of intervention that intends to cause a sensible transformation in the audience. Diana Taylor explains performance as a political act, mapping several experiences in Latin America, in which performance was linked to issues related to differences, inequalities and social minorities, affirming a character of political resistance in the performance act.
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She wonders whether the performance disappears or persists, being transmitted through a non-archival system that she called repertoire, transmitting memories, making political claims and manifesting a sense of identity of a group. According to Taylor , if performance did not convey knowledge, only the scholars and powerful could claim the memory of social facts. The author thus addresses relations between the incorporated performance, the production of knowledge and the social and political changes.
Performance is considered as an upheaval, as a way to intervene in political scenarios, as vital transference acts, conveying knowledge, memory and meanings. Taylor points out that performance emerges as a research theme in the s related to the social and disciplinary upheavals that shook the academy in the late s: the feminist movement, the Black Power movement, reaction to dictatorships in Latin America, and so on. We have here a larger view of performance that inserts it into a necessarily political scenario.
Through this view, the performance works as a mode of transmission of a traumatic memory, unfolding in file and repertoire of shared cultural images, at the same time that it transforms them. For the author, as well as trauma, the performative protest inscribes itself, in an unexpected and importunate way, in the social body, and its strength depends on its power to provoke recognition and reaction in the here and now, instead of retelling something that has passed.
She insists on the presence and occupation of space: one can only participate by being there. And being there or here in presence then marks not only the space of the performance, but also the collective environment that addresses everyone and that affects us all and makes us all be here creating a body of collective presence, establishing small upheavals. On the other hand, to be in this space of the city, affectively occupying its landscape with our bodies, is to be here and to affirm the memory of the place of trance, transit and exchange that was and still is that region of the city.
The region that received the African slaves in the time of Colonial Brazil, that receives refugees from other countries and also from the city itself in search of cheaper housing and that receives us every Monday in the morning. To perform is to create out of a present body, lurking, waiting, like a feline before the jump. Performing is a feline behavior, like that of cats spreading across the Morro.
To inhabit this way the present moment, the instant-now of the movement. To perform is to access the plane of movement: an absolute movement with neither subject nor form. Thus, this is our body drifting dance. Here we cannot distinguish the movement of the body from its dance, from its gesture of occupying space with affection.
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From this perspective of performance, art and politics go through each other. The fight meets the rite and the party, and every street laughs and dreams a new world to come, producing small upheavals. It is about keeping an eye on the fireflies, as Didi-Huberman used to say, to the flashes, the upheavals. To look through the gaps of time, between past and future, and compose a body of presence like that of fireflies, forming a community enlightened with desire and dances in the dark of the night, producing flashes-drifts, describing drift lines in the dark, not being content with the light of the Society of the Spectacle, which obscures the fleeting and intermittent delicacy of the fireflies.
One has to go to the fireflies to see their flashing lights drawing dances in the night. To wander the winding streets of the Morro, filling the space with the body of a woman; to propose a dance and a way of research in dance that can happen beyond the limits of the stage, the classroom and the walls of the University; to affirm the body-city relationship as political action through the affective occupation in-with the space; these were threads that we drew while drifting, creating a web of images, sensations and narratives. Our affective actions ripped the body of the city, created furrows and fissures in its asphalt body, just as the streets created marks on our bodies, they watered pieces of ground from the city of Oxum Image 8.
Rio de Janeiro: Casa da Palavra, Rio de Janeiro: Beco do Azougue, Lygia Clark: The Abandonment of Art. Cornelia H. Performance como Linguagem. O Aracniano e Outros Textos. Rio de Janeiro: Rocco, Rio de Janeiro: Beco do Azougue , Porto Alegre: Sulina, E outros escritos. Rio de Janeiro: Rocco , Carne e Pedra.
Rio de Janeiro: Record, Core-Grafias Intensivas de uma Corporeidade em Movimento. The wander lines referred to the paths taken by the children who were treated freely instead of confined in specialized spaces, the widespread practice until then. Deligny and his team tracked these lines and recorded them through videos and mapping. At some moments, the artist had to use transportation, such as a boat, but most of the route was done on foot and barefoot, in order to get the dust from the southern ground to be washed somewhere in the USA.