CARCASS

In CARCASS, Marco da Silva Ferreira uses dance as a tool for research into community, the construction of collective identity, memory and cultural crystallization. The choreography, initially based on a set of jumping legs as an agitator and gas pedal, gradually takes shape as a vibrant, rebellious, carnivalesque body.

The 10 performers form a collective that seeks its collective identity in a physical, intuitive and unpretentious flow of body, dance and culture. They start with familiar footwork from clubbing, ball battles, cyphers and the studio, and move on to standardized, unchanging folk dances linked to their memory/heritage. These dances of the past had crystallized and were unable to integrate new definitions of bodies, groups and communities considered minor. We had to break with the authoritarian, totalitarian and paternalistic past. In CARCASS, an exercise that integrates past and present is proposed. Reflection on: How do you decide to forget and create memory? What role do individual identities play in building a community? What drives identity? What world runs through the individual and collective body? Or rather, which bodies traverse the world? The steps, complex but performed in simple sneakers, will bring not only sound to the stage, but also exchanges between kinetic, thermal and luminous energies. The physical sounds are accompanied by drums played by João Pais Filipe and electronic music by Luis Pestana. These elements, performed live, form an accelerated soundtrack with references to traditional music (e.g. fanfarre, marching), postmodern music and clubbing music (Techno/trance/dub).