During the AKI AORA residence program (Tulum, 2018) we explored through body and dance musical genres to "perrear," such as: reguetón, dancehall, funky carioca, champeta, choke, etc. which led to PERREADORXS AGUAFIESTAS, in which we carried out different physical provocations as forms of cuir-feminist protest.
One of these provocations consisted of touring Tulum accompanied by a portable speaker invading the public space with "periciosras music" and our unique dance. Understanding the latter as a joyful body practice, self-fulfilling that allowed us self-recognition and self-representation to appropriate songs identified from a class perspective, to be misogynist and sexist. With this, to twist from our bodies the exoticization and mythification of women and femininity defined on the basis of stereotypes of gender, sexuality and racialization, as an extension of certain territories such as the Tropics, the Caribbean, and Latin America. The enunciation that we are not an articulation of the landscape available to be consumed.
We invaded the peripheral streets of Tulum, the constructions in black work and garbage dumps. Secluded places, without any tourist interest, that on the one hand dislocate the paradisiacal / eco-chic / luxurious idea of Tulum and on the other are places that in a generalized way are identified as spaces for physical and symbolic harassment and violence for the feminized bodies. Therefore, they are also propitious spaces for sabotage; to "misbehave", move the ass as we want, where we want, to put the body without fear, to make it our street, even if transitorily.
Simultaneously to these provocations, we made a musical album also called PERREADORXS AGUAFIESTAS that compiles 28 songs of "musicas pa 'saCUIR los asses and genres" made by women between the eighties and 2017, where different perreo musical genres meet, constituting a file that accounts for and places the celebration and production of other feminities, and highlights the false stability of any type of gender. For the dissemination of this compilation, we went back to the streets by means of a street broadcast through a mircophone and speaker, in which at full volume we presented our imagined friends, we danced their songs and we shared the project with the different women that we met in the tours, Specifying small meetings in which we told the women of who we listened to, why we danced and why this was a form of protest trying in that exchange possible complicities.
PERREADORXS AGUAFIESTAS allowed us to disturb the public space with our joyful presence, let's go for more!
Una Pardo Ibarra (Colombian, b. 1986) and Nabil Yanai Salazar Sánchez (Mexican, b. 1991) both based in Mexico City