PART I: Buried in the Body of Remembrance / Enterrada en el cuerpo del recuerdo
In part one, Buried in the Body of Remembrance, our immigrant, makes the difficult decision to leave her home, and faces the reality of parting. There will be material and spiritual luggage that she will be able to bring with her, a suitcase of poetic essentials, dear objects and memories. Most of what she needs in her life will not fit in her bags, however. The piece reveals a personal archeology of personal artifacts that she buries or unburies to take along, and in doing so, discovers that it is she who is “parted”: who is this person who sets out on the journey, and who is this other persona who will stay back home?
We used the image of the grid, inspired by the hopscotch of childhood games, and the archeological dig, as a tool to map memories (personal, communal, liberating and traumatic.) The crossed strings of the archeological grid referred us also to the forensic anthropology’s exhumation of mass graves: there is a violence of some sort or another implied in the migrant’s decision to leave home. Just as the dig, the performance is layered with physical actions, video interventions, and music, as well as the sound of the voice of Rosa Molina (David Molina’s mother,) who emigrated from El Salvador to escape violent conflict, but encountered a different kind of violence in the crossing and the harassment by US immigration agencies in LA.
In part one, Buried in the Body of Remembrance, our immigrant, makes the difficult decision to leave her home, and faces the reality of parting.
Our main character challenges, reaffirms or struggles to ground herself in a territory quite different from the official cartography.
Our immigrant character will face an ever more challenging redefinition of self, place, home and webs of affinity and affect.