Performancear o Morir

Performancear o Morir 2011 Rodolphe-yves Lapointe

2011-06-14T15:56:00.000-07:00

Performancear o Morir 2011 Julischka Stengele y Luisa Ortega

2011-06-14T15:48:00.000-07:00

Performancear o Morir 2011 Basil Alzeri

2011-06-14T15:33:00.000-07:00

Performancear o Morir 2011 Chuyia Chia

2011-06-14T15:17:00.000-07:00

Performancear o Morir 2011 Joakim Stampe

2011-06-14T14:23:00.000-07:00

Performancear o Morir 2011 Félix Lugo

2011-06-12T22:41:00.000-07:00

Performancear o Morir 2011 Jean Voguet

2011-06-12T22:25:00.000-07:00

Performancear o Morir 2011 Pancho López

2011-06-12T22:22:00.000-07:00

Performancear o Morir 2011 Katrin Wölger

2011-06-12T22:18:00.000-07:00

Performancear o Morir 2011 Gustavo Alvarez

2011-06-12T22:01:00.000-07:00

PERFORMANCEAR o MORIR 2011

2011-02-22T16:33:00.000-08:00

PERFORMANCEAR O MORIR 2011!!!! Julischka Stengele (Germany) Chu Yia Chia (Malaysia/Singapore) Katrin Wölger (Austria) Peter Baren (The Netherlands) Randy Gledhill (Canada) Joakim Stampe (Sweden) Pancho López (México) Rodolphe-yves Lapointe (Quebec) Jean Voguet (France) Basil AlZeri (Palestine/Canada) World Wide Option Agnes Btffn (French/norwegian) Wolf Wolfsmoon (german/norwegian)

Performancear o Morir 2010 Valentín Torrens

2010-05-28T13:41:00.000-07:00

Valentín Torrens (España)

Performancear o Morir 2010 Richard Martel

2010-05-28T13:14:00.000-07:00

Richard Marte (Canada)

Performancear o Morir 2010 Verena Stenke & Andrea Pagnes

2010-05-28T12:47:00.000-07:00

Verena Stenke (Alemania) & Andrea Pagnes (Italia)

Performancear o Morir 2010 Anadel Lynton

2010-05-28T12:27:00.000-07:00

Anadel Lynton

Performancear o Morir 2010 Rodolphe-yves Lapointe

2010-05-28T12:07:00.000-07:00

Rodolphe-yves Lapointe (Canadá)

Performancear o Morir 2010 Jill Macdermid

2010-05-27T21:13:00.000-07:00

Jill Macdermid (USA)

Performancear o Morir 2010 Eve Bonneau-Janeth Corral

2010-05-27T20:37:00.000-07:00

Eve Bonneau (Francia-Belgica)-Janeth Corral (México)

Performancear o Morir 2010 Hoke

2010-05-27T19:08:00.001-07:00

Hoke (USA)

Performancear o Morir 2010 Gustavo Alvarez

2010-05-27T17:40:00.000-07:00

Gustavo Alvarez (México)

Gustavo Alvarez

World Wide Actions 2010

2010-05-27T15:21:00.000-07:00

Marcus Vinicius (Brasil)

Clemente Padin (Uruguay)

World Wide Actions 2010

2010-04-27T21:34:00.000-07:00

Las series completas se encuentran en:
The completes series are in:
www.facebook.com/Musgus

Gina Ben David

Shakina Nayfak (USA)

Tzitzi Barrantes (Colombia)

Marcela Cadena Sandoval

Yury Hernando Forero

Andrzej Pawelczyk

El Viaje al performancear o Morir 2010

2010-04-27T20:47:00.000-07:00

El viaje como mecanismo de encuentros y desencuentros, búsqueda constante hacia el interior que se llena de exterior.
Paisajes que nos llenan los ojos y el corazón, acciones rituales contínuas que nos confrontan y examinan. El otro se nos presenta a diario y nos reclama algo igual que nosotros a ellos.
Gracias a todos los que participaron viniendo y a la distancia. Los seguiremos esperando siempre.

The trip like mechanism of encounter and mix-ups, constant search towards the full interior that of outside. Landscapes that fill to the eyes and the heart to us, ritual actions you continue that they confront to us and they examine. The other appears to us on a daily basis and we to them demand something just as. Thanks to that they participated coming and to the distance. We will continue them always wating.

THIRD ENCOUNTER OF ARTE-ACCIÓN "PERFORMANCEAR O MORIR" 2010

2010-03-10T00:23:00.000-08:00

THIRD ENCOUNTER OF ARTE-ACCIÓN
PERFORMANCEAR OR TO DIE

Chihuahua, Mexico, 2010.

In the north of Mexico, an ethnic group exists who resists to die in spite of the push of the West, knows itself them like raramuris, according to his cosmovision find a Straits felt between her dances and the order of the world, thus for them is from extreme importance of celebrating; since in his cotidianidad there are few reasons to do it, so that they enjoy to the maximum the moments that they have catalogued like exclusive for this aim; one of them is Easter, to celebrate for them is to do it of form active this way feel that in his hands this power to influence in daily, to extend by means of these manifestations plegaria so that everything continues working and with luck improves, so that the invitation is abre for all those that wish to celebrate with nosaotros, to mimso time participating with the positive intentions that each of us puts in the act of performancear, welcomes are of all parts, we celebrate the fact to follow in the action. The concept We consider that the performative actions are own of the human sort, that each group has found by means of these actions the possibility of approach with its surroundings, to obtain favors of, to render tribute to him by means of the ritual; thus possible proto performative actions now restored in the order of the artistic thing, of the aesthetic thing, talked about to something ampler, significant and of greater repercussion and importance for they vivian which it; to be in a manifestation of these magnitudes marked the participants, towards revivir and feeling that in them encuenta the change possibility. This league between action and so that, so that and for who, we think that they have come vanishing or tranformando themselves, the important thing is that now in the heat of century twenty-one to answer this seems to take sense, perhaps by some moementos is beneficial the performance to clear it of all artistic embalsamiento, to undress it, and to denudar all those to us that we realise performance, with the intention to know that I motivate to us in first instance to realise them, and perhaps some we will find that they were not the festivales, neither the congresses, nor the title of performance artist, perhaps like our predecessors sentiamos us with the power to influence in anybody, to change to something, that is to say that our representations remained in the order of the aesthetic judgment, product of an ecstasy by the truth than implies to be art. In the culture raramuri, is a phrase that we allowed ourselves to change, she says “To dance or To die”, have changed we it by “Performancear or to die”, first shines I finish “performancear”, same who we attributed like totally Mexican, is the form in which we talked about the action to make performance, art action; this way we turned into verb to the performance, the resignificamos, being born the verb to performancear, (verbo= action) this way we did not move away but we condensed the positions and differences between the performance and the action, breadfruit occurs a species of interactive mixture, between which refuiere to the performance and the action. The very same ritualista action and journeying in that gallant cotidianidad, influence in the form and contents of which we make performance, permeados by a present past/and a future present/, noticeable and vicerales resistances, therefore performanceamos we and do not make performance, we are performanceros before being performance artists. This way we think that the phrase “Performancear or to die” is not only a slogan, but the invitation to make an act autoreflexivo and to go towards what I take to us for the first time to be within the world of the performance, that there is of behind all this from the personal point of view, visceral and volitive, that motivates to us to continue conducting battle.

Second Encounter of Art-Action"Performancear o Morir" 2009"

2009-07-02T15:15:00.000-07:00

Acciones In Situ

Cosme (México)
Eve Bonneu (Belgica-Francia)
Tania (México)
Fernando García (México)
Ares (México)
Gustavo Alvarez (México)

World Wide Actions

2009-07-02T14:43:00.000-07:00

BBB Johannes Deimling (Germany)

“AM I I AM”

"Soy Yo Yo soy"

Agiertes Bild (living image or acted image)

Written for the Performance Art Encounter “Performancear or to die"
9th – 11th of April 2009, in Norogachi, Chihuahua, Mexico

Idea:
The idea is based on the topic of the festival and I have choosen the form of an AGIERTES BILD (living or acted image) that is based on the question or the answer on “AM I ...?” or “I AM ...!”.

Acciones "Performancear o Morir 2009" Cerro Agujerado

2009-06-30T15:31:00.000-07:00

Después de dos días de acompañamiento a la celebración Raramuri, compartiendo sus rituales como el baile de los Pintos y el Pascol, nos dispusimos a realizar nuestras acciones.

Este año tuvieron como escenario el Cerro Agujerado, ubicado en las inmediaciones de Norogachi, camino sinuoso, pero bien valía la pena subir a la cubre de éste para tener una vista imponente.

Subimos con la intención de tener un lugar especial, de que nuestras acciones resonaran en el cosmos.

Actions

After two days of support to the Raramuri celebration, sharing its rituals as the Pascol and dance Pinto, we get ready to conduct our actions.

This year they had like scene the Cerro Agujerado, located in the environs of Norogachi, winding way, but it was worth the pain well to raise covers it with this one to have an imposing view.

We raise with the intention to have a special place, of which our actions resonated in the cosmos.

"Performancear o morir" Encuentro de Arte-Acción 2009

2009-03-09T16:30:00.000-07:00

La llamada del tambor

Hace un año de distancia del primer encuentro, experiencias primigenias que se van desvaneciendo para transformarse en un nuevo encuentro. Bajo la misma premisa convocamos a artistas de performance, arte-acción. Motivando no solo la participación con nuestros colegas, sino más allá darse la oportunidad de confrontar su quehacer en el arte, sus motivaciones, y su misma cultura.

Tal como lo hacián nuestros antepasados lo siguen repitiendo nuestros hermanos raramuris, cada año retoman el sonido del tambor como fuerza que congrega, no hay preguntas de cual es la causa tan solo se acude, tal vez con la esperanza de encontrar la posibilidad de ser más fuertes, de ayudarse, de compartir, de estar hombro con hombro en el proceso de trascendencia.

Y en ese momento junto al fuego quitarse las máscaras, y permitir la fluidez de lo sentido, de lo emocional de lo que nos ata aún a este acto mundano, de ver en el otro la posibilidad de creer y saber que las múltiples manifestaciones del hombre entre ellas el arte solo tienen sentido en la medida en que se comparten y se hacen por y para todos.

Esta es la llamada hacia la comunidad performativa, que acuda todo aquel que sienta el profundo deseo de estar ahi.

El encuentro se realizará los días 9, 10 y 11 de abril del 2009. En Norogachi, Chihuahua, México.

Informes con Gustavo Alvarez performancear@gmail.com

The call of the drum

For a year of distance of the first encounter, original experiences that are vanished to transform itself into a new encounter. Under the same premise we summoned artists of performance, art-action. Motivating not only the participation with our colleagues, but further on to occur the opportunity to confront its task in the art, its motivations, and their same culture.

As to our ancestors raramuris continues it repeating our brothers, every year they retake the sound of the drum like force that congregates, there are no questions of what is the cause is only gone, perhaps with the hope to find the possibility of being stronger, of helping itself, of sharing, of being shoulder with shoulder in the importance process.

And then next to the fire to take off the masks, and to allow the fluidity of the sense, the emotional thing than still tie to us to this worldly act, to see in the other the possibility of believing and knowledge that the multiple manifestations of the man among them the art only have sense insofar as they share and becomes by and for all.

This is the call towards the performative community, that goes all that one that feels deep desire to be there.

The encounter will be realised days 9, 10 and 11 of April of the 2009. In Norogachi, Chihuahua, Mexico.

Information with Gustavo Alvarez performancear@gmail.com

Participantes In situ

2008-04-26T13:30:00.000-07:00

* Anadel Lynton (México)
*Valentina Castro (México)
*Sylvie Marchand (Francia)
*Eliu Almonte (República Dominicana)
*Gustavo Alvarez (México)

Participantes World Wide Option

2008-04-26T13:06:00.000-07:00

* Agnês Abtiffon (Francia-Noruega)
*Camburet Lionel (Francia)
*Gêrard Chauvin (Francia)
*Odd Sama (Noruega)

The videos of the actions you can see in the Panel Of Videos,

Las acciones/The actions

2008-04-25T16:45:00.000-07:00

Las acciones
Paras las acciones respectivas se propuso a los participantes una metodología con la intención de provocar acciones que nos remitieran a ese acto primigenio. Y después vivenciar las diferencias entre las acciones.
Acción Introspectiva:
Para nosotros la acción comienza desde el momento en que se va hacia el interior personal y nace el sentir de proponer, hacer, intentar y enseguida la pregunta de como vertir este impulso individual hacia el exterior. Todo esto relacionado con nuestros intereses, sentires, experiencias, espíritu, voluntad, creatividad, nuestra vida misma, esta formación tan diversa como individuos que nos lleva a ser únicos.
Y unificar todo esto en el acto del hacer y estar en el espacio, siendo el punto de reunión la acción performativa.

Por otra parte la posibilidad de realizar una acción donde no se encuentra el juicio del espectador, donde no hay el ojo de la cámara registrante, donde la acción se recicla al interior y se extien un diáologo con el espacio.
Tratar de pensar en lo que nos motivo en los inicios a hacer performance, sobre todo con esta primer impulso de energía que nos llevo hacia el performance.
Propuesta:
Con respecto a lo anterior proponemos que los participantes relicen una acción en soledad, en el paraje destinado.

Acción Reflexiva:
En la cotidianidad suelen repetirse nuestros actos aunque no siempre de la misma manera; asi aquello que nso sucede nos va llenando de la experiencia, que nos pude llevar a que en la siguiente ocasión actuemos de otra manera, y eso solo lo sabemos nosotros, y solo nosotros podemos vivir ese cambio y poder saber por que lo hicimos diferente o por que decidimos hacerlo de la misma manera.
La acción performativa sucede y la posibilidad de verla en condiciones diferentes nos pude servir de comparativo para dimensionar las posibilidades que ofrece realizar una acción en solo o en público, es decir que nos puede proveer como artistas la posibilidad del reconocimiento, del aplauso y del registro.
Además de saber si con nuestras acciones al momento de compartirlas tenemso la psosibilidad de modoficar el entorno, saber si el arte-acción que brindamos lo contemplamos por y para nuestro universo, y al mismo tiempo creer en al posibilidad de auqw la acción actue sobre este orden causal.
Después de tener una acción en soledad, y ahora de manera compartida llevándola hacia los terrenos de una acción valorativa.
Propuesta:Con respecto a lo anterior proponemos que los participantes realicen las misma acción que realizaron en soledad ahora con el público y motivando el registro de lacción en el mismo paraje.

The actions
You stop the respective actions seted out to the participants a methodology with the intention to cause actions that sent us act to that first. And later to vivenciar the differences between the actions.
Introspectiva Action: For us the action begins from the moment at which it goes away towards the personal interior and it is born feeling to immediately propose, to make, to try and the question of as to vertir this individual impulse towards the outside. All this related to our interests, sentires, experiences, spirit, will, creativity, our same life, this as diverse formation as individual that it takes to us to be unique. And to unify all this in the act of doing and to be in the space, being the rallying point the performativa action. On the other hand the possibility of conducting a battle where is not the judgment of the spectator, where is no the eye of the registrante camera, where the action is recycle to the interior and they extien a diáologo with the space. To try to think about which I motivate to us in the beginnings to make performance, mainly with this first impulse of energy that I take to us towards the performance.
Proposal: With respect to the previous thing we propose that the participants relicen an action in solitude, in the place destined.
Reflective Action: In the cotidianidad our acts usually are repeated not always in the same way although; asi what he happens to us is filling to us of the experience, that I could take to us to that in the following occasion we act of another way, and that single one we to it know, and single we can live that change and power to know so that we made it different or so that we decided to do it in the same way. The performativa action happens and the possibility of seeing it in different conditions I could serve to us as comparative determine the proportions the possibilities that offer to conduct a battle in single or public, is to say that the possibility of the recognition, the applause and the registry can provide us like artists. In addition to knowing if with our actions at the time of sharing them tenemso the possibility of modifying the surroundings, knowledge if the art-action that we offered we contemplated it by and for our universe, and at the same time believing in a the possibility that the action actue on this causal order. After having an action in solitude, and of way now shared taking it towards lands of a valorativa action.
Proposal: With respect to the previous thing we propose that the participants conduct the same battle who made now in solitude with the public and motivating the registry of the action in the same place.

Grupo de Trabajo: Intenciones y Reflexiones/Work group: Intentions and Reflections

2008-04-25T16:19:00.000-07:00

Intenciones
La propuesta
-Recordar lo que nos llevo a experimentar el performance, arte acción o performancear.
-Acompañar en la fiesta raramuri, asumiéndonos como parte de esta celebración y las acciones performativas propias de su celebracion (danzas, rituales)
-Tratar de contestar de manera autoreflexiva al por que, para que y para quien hacer performance, arte acción, performancear.
-Encontrar un espacio de convivencia performativa.
Grupo de trabajo:
Temas guía:
-Acción-verbo-performance.
-Relación arte-acción con su entorno.
-¿Que le provoca al artista accionar?
-Relación del artista con el mundo.
-¿Que provoca hacer arte-acción en el orden del mundo.
-¿Provoca algo?
-¿Podemos hacer algo?
-Cosmovisión del artista.
-Interrelación acción-acontecer.
Reflexiones
*Lo primero que abordo el grupo de trabajo fue la intención de contestar a las preguntas por que, para que y para quien performancear?.
¿Por que?
Considerando al performance/al arte como un fuerza que nace propia de la espiritualidad y vivencia de cada uno de nosotros, que se convierte en una necesidad cuando se observan los beneficios de estar en interrelación con estos medios; sanidad física y mental. Acción-reacción, de contestar y de saberse proactivo en un entorno que nos concierne como entes representativos de lo que significa el ser humano.
¿Para que?
Acto terapeútico del decir, del mostrar, expresión que nace de la necesidad de pasar de la intelectualización al uso del cuerpo como vía de esto que decodificamos por medio de él, para escarvar en los límites del entendimiento del otro, basta decir, denuncia permanente de lo que traemos, ya después puede convertirse en comunicación o no, eso puede que dependa en su mayoría del factor receptivo, del afuera, del que nos escucha o simplemente puede no comunicar nada, ser vacío para algunos y eso que; eso no nos preocupa, se cree en al universalidad del arte del sentir; y para esto se hace performance cada quien tiene su para, pero eso si es para afuera.
¿Paraquién?
Para quien quiera, sin pretensiones, o por lo menos se trata de limpiar los actos de ella, cuando se pretende se suele fallar, solo los que quieran ver en cada propuesta, una ilusión, un acto fallido, una repesentación del si mismo, el otro los otros lo dirán, sería un pretensión decir esto es solo para algunos.
Para todos: peatones, galeristas, performanceros, amas de casa, estudiantes, artistas, ciegos, políticos, ejecutivos, indígenas, padres, madres, empresarios, ezquizofrenicos, criticos de arte, enfermos terminales, vendedores ambulantes, jóvenes, niños, obreros, albañiles, carpinteros, economistas, y para todos los que faltaron de mencionar.

*Lo segundo que se abordo en el grupo de trabajo fue tomar como base los puntos de relación del artista/performancero con su entorno, con el mundo, cosmovision del artista, interrelación acción-acontecer, que provoca hacer arte/performance en el orden del mundo.
Ahi pudimos dialogar acerca de esto y uno de los puntos recurrentes era este ensimismamiento del artista, la constipación sufrida por él cuando le decían que su arte no era digno de las vitrinas, entonces el conformista también decidía mejor no seguir haciéndolo o bien esperar a que hubiera una oportunudad en la cual pudiera contar con la venia; esto es lo de menos lo de mas son los alcances que tiene esto principalmente influenciado por el mercado del arte y es que coincidimos en que nadie tiene algo con las ferias congresos, bienales, al contrario son necesarias en esta palastra, pero al final se concentra la manifestación en un gremio, se conforma una elite donde nos olvidamos del decir a terceros, solo nos importa ganar beca y es que eso tampoco esta mal solo que se pierde el foco de la obra manifiesta, cuando se encubre con todo este embalaje. Entonces se pierde el vínculo con la otredad ,con los no artistas con los no curadores, entonces se pierde piso, se eleva tanto qu ese covierte en otra cosa que no es arte o que tipo de arte, se elimina el contacto con los cooterraneos, se pierde la posibilidad de cobrar magnitudes y es que para estas no hay parámetros por ahi dicen en el esfuerzo radica el mérito y en la nmedida en que nos volvamos artistas/performanceros de mérito podremos alcanzar la magnitud que queramos.

Intentions
The proposal
-To remember what I take to us to experience the performance, art action or performancear.
-To accompany in the celebration raramuri, assuming like part of this celebration and the own performativas actions to us of its celebration (dances, rituals)
-To try to answer of autoreflexiva way so that, so that and for that to make performance, art action, to performancear.
-To find a space of performativa coexistence.
Work Group: Subjects guide:
-Action-verb-performance.
-Relation art-action with its surroundings.
-That it causes the artist to him to drive?
-Relation of the artist with the world.
-That order causes to make art-action in rl of the world.
-It causes something?
-We can do something?
-Cosmovisión of the artist.
-Interrelation action-to occur.
Reflections
*First which attack the work group went the intention to answer the questions, for why, for what, and for who to performancear.
-For why?
Considering to the performance/al art like a force that is born own of the espiritualidad and experience of each one of us, who become a necessity when the benefits are observed to be in interrelation with these means; physical and mental health. Action-reaction, to answer and of knowing itself proactive in surroundings that concern to us like representative beings of which means the human being.
-For What?
Therapeutic act of saying, of showing, expression that is born of the necessity to happen of the intelectualización to the use of the body like via of which decodificamos by means of him, to escarvar in the limits of the understanding of the other, it is enough to say, it denounces permanent of which we bring, or later can become communication or no, that can that depends in its majority of the receptive factor, of outside, of which it listens to us or simply it can not communicate anything, to be empty for some and the that that; that does not worry, believes in a the universalidad to us of the art of feeling; and for this performance becomes every one has his for, but that if it is for outside.
-For whom?
For whoever, without pretensions, or at least one is to clean to the acts of her, when is tried usually it is failed, single those that they want to see in each proposal, an illusion, an insolvent act, a repesentación of if the same one, the other the others will say it, would be a pretension to say this is single for some.
For all: blind, political, executive, indigenous pedestrians, curators, performanceros, housewives, students, artists, parents, mothers, industralists, ezquizofrenicos, criticos of art, traveling, young, young, working patients terminal, selling, bricklayers, carpenters, economists, and for all those that lacked to mention.
*The second that attack in the work group was to take as it bases the points of relation of the artista/performancero with his surroundings, with the world, cosmovision of the artist, interrelation action-to occur, that causes to do arte/performance in the order of the world.
There we could engage in a dialog about this and one of the recurrent points was east absorption of the artist, the constipación undergone by him when they said that its art was not worthy of the display cabinets, then the conformista to him also decided better not to continue making it or hope to that there was a oportunudad in which could count on venia; this is the one of except the one of but they are the reaches that this influenced by the market of the art has mainly and is that we agreed in which nobody has something with the fairs congresses, biennials, on the contrary are necessary in this palastra, but in the end the manifestation in a union is concentrated, is satisfied one elite where we forgot saying to third, single it does not matter to us to gain scholarship and he is that that either this badly single one that loses the center of the manifest work, when this packing is concealed yet. Then the bond with the otredad is lost, with the nonartists with the noncuradores ones, then floor is lost, so much rises qu that cospills in another thing that is not art or that type of art, eliminates the contact with the cooterraneos, the possibility of receiving magnitudes and is that is lost for these there are no parameters by ahi say in the effort is the merit and in the one in which we become artistas/performanceros from merit we will be able to reach the magnitude which we want.

"Performancear or to Die"

2008-02-06T15:04:00.001-08:00

"Performancear or to Die"

2008-02-06T14:50:00.000-08:00

PERFORMANCEAR Or TO DIE
For why, for what an for who performancear

Norogachi, Mexico, 2008.
In the north of Mexico, an ethnic group exists who resists to die in spite of the push of the West, knows itself them like raramuris, according to his cosmovision find a Straits felt between her dances and the order of the world, thus for them is from extreme importance of celebrating; since in his cotidianity there are few reasons to do it, so that they enjoy to the maximum the moments that they have catalogued like exclusive for this aim; one of them is Easter, to celebrate for them is to do it of form active this way feel that in his hands this power to influence in daily, to extend by means of these manifestations so that everything continues working and with luck improves, we celebrate the fact to follow in the action.

The concept

We considered that the actions are own of the human sort, that each group has found by means of these actions the possibility of approach with its surroundings, to obtain favors of, to render tribute to him by means of the ritual; is possible proto performatives actions now restored in the order of the artistic thing, of the aesthetic thing, talked about to something ampler, significant and of greater repercussion and importance for all those that vivian it; to be in a manifestation of these magnitudes marked the participants, towards feeling that in them the change possibility. This league between actions and so that, so that and for who, we think that they have come vanishing or transmutation themselves, the important thing is that now in the heat of XXicentury to answer this seems to take sense, perhaps by some moments is benefit the performance to clear it of all artistic covering, to undress it, and to all those to us that we make performance, with the intention to know that I motivate to us in first instance to make them, and perhaps some we will find that they were not the festivales, neither the congresses, nor I title of performance artist, perhaps like our predecessors, fel us with the power to influence in somebody, to change something, is to say that our representations did not remain in the order of the aesthetic judgment, product of an ecstasy by the truth of which it implies to be art. In the culture raramuri, is a phrase that we allowed ourselves to change, she says "To dance or To die", we have changed it by "Performancear or to die", first shines I finish "performancear", same who we attributed like totally Mexican, is the form in which we talked about the action to make performance, art action; this way we turned verb to the performance, the resignificamos, being born the verb to performancear, (verb = action) this way we did not move away but we condensed the positions and differences between the performance and the action, aca occurs a species of interactive mixture, between which refuiere to the performance and the action. Ritualist action and journeying in that gallant cotidianity, influences in the form and contents of which we make performance, covering by a past/present and present/future, noticeable and vicerales resistances, that performanceamos we and do not make performance, are performanceros before being performance artists. This way we think that the phrase "Performancear or to die" is not single a slogan, but the invitation to make an act autoreflexiv and to go towards what I take to us for the first time to be within the world of the performance, that there is of behind all this from the personal point of view, visceral and volitivo, that motivates to us to continue conducting battles.

The proposal

The encounter will be made days 20, 21 and 22 of March, in the town of Norogachi, which is in the state of Chihuahua, Mexico.
That they are united to us of all parts of the world so that together we remember what I take to us to experience the performance, art action or performancear.
Accompany in the celebration raramuri,with respect
To try to answer of autoreflexiv way so that, so that and for that to make performance, art action, to performancear.
To find a space of performativa coexistence.

Like participating

Option A To Participation in Norogachi.
To come to Norogachi, Mexico to participate in the Raramuri celebration.
To take space from autoreflexion to think about so that, so that and for that, to make performance, art action, to performancear.
To experience the premise "Performancear or to die"
Is important to arrivar with two or a day of anticipation (18 or 19 of March)

Option B: Worldwide participation
Make a performative piece in relation to performativos acts raramuris (Same that were explained and they related in blog where this call can also be consulted)
To make a piece that sends to the sensation undergone in your first actions to you.
To destine one of the days of that week to reflect about the questions for why, for what and for who to make performance, art action, to performancear.
Of individual way or like group to cause this reflection about which it occurs to us now like performance creators, art action.
To send blog the form in as they participated, photos, videos of which made, asi like its conclusions like part of autoreflexion or of the work group.

Lodging, transportation and food:

Each artist to cover the expenses of its transportation, food and lodging.
The event will centralize in Norogachi, to be in a place together and to eat together.
For greater information can be put in contact with Gustavo Alvarez.
Lodging 10 dollars daily per day and person, is due to pay when arriving in advance.
The cost by lodging and feeding is of 25 dollars per day and by person, it is due to pay when arriving in advance.
Recommendations for trasportación: Arrival to the international airport of Chihuahua, central terrestrial trasportación of Chihuahua-Parral buses (Cost approx 10 dollars, Parral-Guachochi (Cost approx 7 dollars), Guachochi-Norogachi (taxis 30 dollars with fitted for 5 people and luggage).
Aerial route of any part of the world, to fly to the international airport of the City of Mexico and ahi to the airport of Chihuahua. Some verified routes to arrive directly at the Airport of Chihuahua are: Vegas-Chihuahua, A'ngeles-Hermosillo-Chihuahua, Dallas-Houston-Chihuahua, Atlanta-Monterrey-Cihuahua.
Terrestrial arrival to the power station of Chihuahua buses, Chihuahua-Parral (Cost approx 10 dollars), Parral-Guachochi (Cost approx 7 dollars), Guachochi-Norogachi (taxis 30 dollars pesos with fitted for 5 people and luggage).
VISA and Passport: Several exist pasises that do not need Visa, single to count on their effective Passport, some countries are the following ones: Germany, Argentina, Australia, Belgium, Belize, Canada, Chile, Korea South del, Costa Rica, Denmark, Ecuador, the United States, Finland, France, Greece, Guatemala, Holland, Hungary, Indonesia, Israel, Italy, Japan, Norway, New Zealand, Poland, Portugal, United Kingdom, Czech Republic, Dominican, Swiss Republic.

Receive a Warm greeting, and best desires.
Gustavo Alvarez.

In order to confirm participation: Gustavo Alvarez, diabolo_666mx@yahoo.com, performancear@gmail.com
Lodging and travels: Gustavo Alvarez, diabolo_666mx@yahoo.com, performancear@gmail.com www.performancearomorir.blogspot.com
NOTE: Please to confirm his asistencioa, since 19 day 18 and of March, in Guachochi, to orient them in trasnportacion to Norogachi Chihuahua.

The Raramuri celebration!!

2008-02-06T14:35:00.000-08:00

The sound in the mountain range Tarahumara de Chihuahua changes drastically in Easter. Hundreds of traditional drums, facts with kid leather and wood of pine, resound rhythmic with the beat of the heart of thousands of Indians rarámuris (tarahumaras) who lower of highest of the mountain range or raise of deepest of the ravine in the direction of the mission of Norogachi.

There the dance and the tesgüino meet all of them around, done spiritual drink with maize fermented under earth. The embriaguez devours the religious spirit of the natives tarahumaras of Chihuahua, who celebrate to their way the Easter. For them most important of the celebration it is to dance to call to the good Gods and to emborrachar itself over and over again to remove to the Judas that all, say, bring inside. the mestizo or chabochi.

During days, thousands of Indians rarámuri (light foot) come of their distant communities touching skilfully their drums, warning the other communities that their families will be in the celebration of God, to run to the devil. In Norogachi, within the municipality of Guachochi, the Indians dance the 24 hours of the day.

The spirit of God and the tesgüino make them hold the long days of brincos and jumps, to support to the judas that beat to them with their twig, its bow, "because he is very vague and malicious, the devil in aim", comment. Before, the ceremony is centered in jerarcas of the celebration, that as initiation rite white spots in the body are painted, for that reason the pinto ones call "".

That indicates them like the leaders of its community, wisest, oldest, the most respected by all. The drums at night are accompanied by gigantic bonfires that invite them, in their time from sunrise to sunset, to continue dancing. Viacrucis becomes around the church and the 12 stations in arcs done with pine branches and encino are crossed. Before, the fiestero or leader of the dance throws tesgüino to the four cardinal points. But them they must also accompany the pascoleros, the governors, the soldiers, the musicians, the fariseos and the pinto ones, in a mixture that embriaga just as the tesgüino.

The celebration finishes Saturday when it kills itself or it burns itself to Judas, a straw doll dressed in western clothes, representing chabochi, mestizo, that is, the white man, that stops they is synonymous or incarnation of the bad thing, of the badness, the devil, of which he destroys to rarámuris, and for that reason is necessary to burn it. When burning it, chabochi dies that can have to tarahumara, because when rarámuri acquires the customs of the white man, of the mestizo, then tarahumara dies.

La Celebración Rarámuri

2008-01-25T17:07:00.000-08:00

El sonido en la sierra Tarahumara de Chihuahua cambia drásticamente en Semana Santa. Cientos de tambores tradicionales, hechos a base de cuero de chiva y madera de pino, retumban acompasados con el latido del corazón de miles de indios rarámuris (tarahumaras) que bajan de lo más alto de la sierra o suben de lo más profundo de la barranca con rumbo a la misión de Norogachi.

Ahí se reúnen todos ellos en torno a la danza y el tesgüino, bebida espiritual hecha a base de maíz fermentado bajo tierra.

La embriaguez engulle el espíritu religioso de los indígenas tarahumaras de Chihuahua, quienes celebran a su manera la Semana Santa.

Para ellos lo más importante de la fiesta es danzar para llamar a los buenos dioses y emborracharse hasta la saciedad para sacar al Judas que todos, dicen, traen adentro. el mestizo o chabochi.

Durante días, miles de indios rarámuri (pie ligero) vienen de sus lejanas comunidades tocando diestramente sus tambores, avisando a las otras comunidades que sus familias estarán en la fiesta de Dios, para correr al diablo.

En Norogachi, dentro del municipio de Guachochi, los indios danzan las 24 horas del día. El espíritu de Dios y el tesgüino los hacen aguantar las largas jornadas de brincos y saltos, para soportar al judas que les pega con su vara, con su lazo, "porque es muy vago y malicioso, el diablo en fin", comentan.

Antes, la ceremonia se centra en los jerarcas de la fiesta, quienes como rito de iniciación se pintan manchas blancas en el cuerpo, por eso los llaman "los pintos".

Eso los señala como los líderes de su comunidad, los más sabios, los más viejos, los más respetados por todos.

Los tambores en la noche son acompañados por gigantescas fogatas que los invita, en su día artificial, a seguir danzando.

El viacrucis se hace alrededor de la iglesia y se recorren las 12 estaciones en arcos hechos con ramas de pino y encino.

Antes, el fiestero o líder de la danza arroja tesgüino a los cuatro puntos cardinales.

Pero los deben acompañar también los pascoleros, los gobernadores, los soldados, los músicos, los fariseos y los pintos, en una mezcla que embriaga igual que el tesgüino.

La fiesta termina el sábado cuando se mata o se quema a Judas, un muñeco de paja vestido con ropa occidental, representando al chabochi, mestizo, o sea, el hombre blanco, que para ellos es sinónimo o encarnación de lo malo, de la maldad, del diablo, de lo que destruye a los rarámuris, y por eso hay que quemarlo.

Al quemarlo, muere el chabochi que puede poseer al tarahumara, porque cuando un rarámuri adquiere las costumbres del hombre blanco, del mestizo, entonces el tarahumara muere.

Donde esta Norogachi?

2008-01-18T15:01:00.000-08:00

Norogachi se encuentra al Norte de México, en el estado de Chihuahua, enclavado en lo que se conoce como la Sierra Tarahuamara.

"Performancear o Morir"

2008-01-17T16:43:00.000-08:00

PERFORMANCEAR O MORIR

Por que, para que y para quien performancear

Norogachi, México, 2008.

En el norte de México, existe una etnia que se resiste a morir pese al empuje de occidente, se les conoce como raramuris, de acuerdo a su cosmovision encuentran un estrecho sentido entre sus danzas y el orden del mundo, así para ellos resulta de suma importancia celebrar; ya que en su cotidianidad hay pocos motivos para hacerlo, de manera que disfrutan al máximo los momentos que han catalogado como exclusivos para este fin; uno de ellos es la semana santa, celebrar para ellos es hacerlo de una forma activa de esta manera sienten que en sus manos esta el poder de influenciar en lo cotidiano, extender mediante estas manifestaciones una plegaria para que todo siga funcionando y con suerte mejore, celebremos el hecho de seguir en la acción.

El concepto

Consideramos que las acciones performativas son propias del género humano, que cada grupo ha encontrado mediante estas acciones la posibilidad de acercamiento con su entorno, de obtener favores de el, de rendirle tributo mediante el ritual; asi las posibles proto acciones performativas ahora instauradas en el orden de lo artístico, de lo estético, se referían a algo más amplio, significativo y de mayor repercusion e importancia para todos los que lo vivian; estar en una manifestación de estas magnitudes marcaba a los participantes, los hacia revivir y sentir que en ellos se encuenta la posibilidad de cambio. Esta liga entre las acciones y el por que, para que y para quien, creemos que han venido desvaneciéndose o tranformándose, lo importante es que ahora en pleno siglo veintiuno contestar a esto parece tomar sentido, tal vez por algunos moementos sea benefico para el performance quitarlo de todo embalsamiento artístico, desnudarlo, y denudarnos todos aquellos que realicemos performance, con la intencion de saber que nos motivo en primera instancia a realizarlos, y tal vez algunos encontraremos que no fueron los festivales, ni los congresos, ni el titulo de performance artist, tal vez al igual que nuestros antecesores nos sentiamos con el poder de influenciar en alguien, cambiar algo, es decir que nuestras representaciones no se quedaran en el orden del juicio estético, producto de un arrebatamiento por la verdad de lo que implica ser arte.

En la cultura raramuri, hay una frase que nos permitimos cambiar, ella dice “Danzar o Morir”, nosotros la hemos cambiado por “Performancear o morir”, primero reluce el termino “performancear”, mismo que atribuimos como totalmente mexicano, es la forma en que nos referimos a la accion de hacer performance, arte acción; de esta manera convertimos en verbo al performance, lo resignificamos, naciendo el verbo performancear, (verbo= accion) de esta manera no nos alejamos sino condensamos las posturas y diferencias entre el performance y la acción, aca se da una especie de mezcla interactiva, entre lo que se refuiere al performance y la acción.

La accion ritualista y el transitar en esa cotidianidad bizarra, influyen en la forma y contenidos de los que hacemos performance, permeados por un pasado/presente y un presente/futuro, contrastes marcados y vicerales, asi nosotros performanceamos y no hacemos performance, somos performanceros antes de ser performance artists.

De esta manera nosotros creemos que la frase “Performancear o morir” no es solo un slogan, sino la invitación para hacer un acto autoreflexivo e ir hacia aquello que nos llevo por primera vez a estar dentro del mundo del performance, que hay de tras de todo esto desde el punto de vista personal, visceral y volitivo, que nos motiva a seguir realizando acciones.

La propuesta

El encuentro se realizará los días 20, 21 y 22 de marzo, en el poblado de Norogachi, el cual se encuentra en el estado de Chihuahua, México.
Recordar lo que nos llevo a experimentar el performance, arte acción o performancear.
Acompañar en la fiesta raramuri, asumiéndonos como parte de esta celebración y las acciones performativas propias de su celebracion (danzas, rituales), con respeto.
Tratar de contestar de manera autoreflexiva al por que, para que y para quien hacer performance, arte acción, performancear.
Encontrar un espacio de convivencia performativa.

Como participar:

Opción A Participación en Norogachi

Venir a Norogachi, México a acompañar en la fiesta Raramuri.
Tomar un espacio de autoreflexion para pensar en el por que, para que y para quien, hacer performance, arte acción, performancear.
Experimentar la premisa “Performancear o morir”Es importante arrivar con dos o un día de anticipación (18 o 19 de marzo)

Opción B: Worldwide participation

Realizar una pieza performativa en relación con actos performativos raramuris (Mismos que se explicaran y se relataran en el blog donde se puede consultar tambien esta convocatoria)
Realizar una pieza que te remita a la sensacion sufrida en tus primeras acciones.
Destinar uno de los dias de esa semana para reflexionar acerca de las preguntas por que, para que y para quienes hacer performance , arte acción, performancear.
De manera individual o como grupo provocar esta reflexion acerca de lo que nos acontece ahora como creadores de performance, arte acción.
Mandar al blog la forma en como participaron, fotos, videos de lo que realizaron, asi como sus conclusiones como parte de la autoreflexion o bien del grupo de trabajo.

Alojamiento, Transportación y Comida:

Cada artista debera cubrir los gastos de su transportación, comida y alojamiento.

Hospedaje 100 pesos diarios, por día y por persona, se debe de pagar por adelantado al llegar.
Elcosto por el hospedaje y alimentación es de $250.00 pesos, por día y por persona, se debe de pagar por adelantado al llegar.
Recoemndaciones para trasnportación:

Llegada al aeropuerto de Chihuahua, una de las rutas más dirfectas es llegar al aeropuerto de la ciudad de México y de ahi al aeropuerto de chihuahua.
Sí se encuentran en América del Norte, algunas rutas a chihuahua son las siguentes (Las Vegas-Chihuahua, Los Ángeles-Hermosillo-Chihuahua, Dallas Houston-Chihuahua. Atlanta-Monterrey-Chihuahua.

VISA y Pasaporte:
Hay algunos países que no necesitan de visado, solo contar con su pasaporte vigente, tales como:
Alemania, Argentina, Australia, Bélgica, Belice, Canáda, Chile, Corea del sur, Costa Rica, Dinamarca, Ecuador, Estados Unidos, Finlandia, Francia, Grecia, Guatemala, Holandas, Hungría, Indonesia, Israel, Italia, Japón, Noruega, Nueva Zelanda, Polonia, Portugal, Reino Unido, República Checa, República Dominicana, Suiza.

Reciban un Cordial saludo.

Gustavo Alvarez.

Para confirmar participación: Gustavo Alvarez, diabolo_666mx@yahoo.com, performancear@gmail.com

NOTA:

Favor de confirmar su asistencioa, ya que se planea esperarlos el dia 18 y 19 de marzo, en Guachochi, para orientarlos en la trasnportacion a Norogachi Chihuahua.