I participated in the Concordia International Graduate Summer School, “Experiential learning in Contemporary Circus Practice: Methods in research-creation, action-research and participant observation,” taught by Professor Patrick Leroux.  I developed this project   as an exploration on embodiment and research-creation through physical training. It is a reflection on experiential learning that analyzes how circus / physical theater are intersectional methods of art(s)-based inquiries. Writing this text allowed me to look into my own personal, professional and academic contexts.
Burning the house

I participated in the Concordia International Graduate Summer School, “Experiential learning in Contemporary Circus Practice: Methods in research-creation, action-research and participant observation,” taught by Professor Patrick Leroux. I developed this project as an exploration on embodiment and research-creation through physical training. It is a reflection on experiential learning that analyzes how circus / physical theater are intersectional methods of art(s)-based inquiries. Writing this text allowed me to look into my own personal, professional and academic contexts.

“Flaubert 20 routes” is the video register and selection of different performances given in the Bogota’s urban transport, which convey how buses and small buses might become a mobile scenery. It is a context that gives way to the reflections of an actress, based on texts from Gustave Flaubert (France 1821-1880) on common themes related to civility and social live, as he said, for a good society, without considering moral aspects. In this sense, it is the portrayal of scenery which is being inhabited in a quotidian manner by passengers who, at the same time, are both known characters of the urban environment and audience. From the point of view of a video recorder, one observes that it is the public itself that decides to participate in the disquisition game by assuming and acknowledging the role of spectator-actor (Augusto Boal) in quotidian circumstances. The aim is to observe from an ironic angle how in these theatrical situations there is anthropological, cultural and political concurrence.
Flaubert 20 Rutas

“Flaubert 20 routes” is the video register and selection of different performances given in the Bogota’s urban transport, which convey how buses and small buses might become a mobile scenery. It is a context that gives way to the reflections of an actress, based on texts from Gustave Flaubert (France 1821-1880) on common themes related to civility and social live, as he said, for a good society, without considering moral aspects. In this sense, it is the portrayal of scenery which is being inhabited in a quotidian manner by passengers who, at the same time, are both known characters of the urban environment and audience. From the point of view of a video recorder, one observes that it is the public itself that decides to participate in the disquisition game by assuming and acknowledging the role of spectator-actor (Augusto Boal) in quotidian circumstances. The aim is to observe from an ironic angle how in these theatrical situations there is anthropological, cultural and political concurrence.

This is a performative piece that invites audience participation. Through four moments, where action, food and voice serve as sensory media for the participant. The structure is close to a ritual, in which each moment corresponds to a natural element that is related to a part of the body, an event and a reflection or doctrine. Every moment is based on a triad of existing relationships determined as follows:
1. Earth-Seeds-Mining: body 
2. Fire-Food-war: Eyes 
3. Water-drink-woman: Mouth                              
4. Air-party-spirit: Nose.                                
I take as my leitmotiv the story of the Mayan hero Jacinto Canek and the homonymous work by the Mexican Emilio Abreu Gómez, of which Vendimia Teatro also made an adaptation.
Las Transfiguraciones del Ensueño

This is a performative piece that invites audience participation. Through four moments, where action, food and voice serve as sensory media for the participant. The structure is close to a ritual, in which each moment corresponds to a natural element that is related to a part of the body, an event and a reflection or doctrine. Every moment is based on a triad of existing relationships determined as follows:
1. Earth-Seeds-Mining: body
2. Fire-Food-war: Eyes
3. Water-drink-woman: Mouth
4. Air-party-spirit: Nose.
I take as my leitmotiv the story of the Mayan hero Jacinto Canek and the homonymous work by the Mexican Emilio Abreu Gómez, of which Vendimia Teatro also made an adaptation.

The collective Cyborg was created in 2020 by artists Alejandra Jiménez and Pablo Mosquera. P(l)andemia, is a piece played remotely and telematically, each one from their country of residence. This performance consists of two actions: Dystopia and Humans are bio-hazardous, in which video, body and sound intervene. Through the narratives generated in a process of video correspondence and actions performed by each artist, we reflect on the social realities generated from and by confinement.
P(l)andemia

The collective Cyborg was created in 2020 by artists Alejandra Jiménez and Pablo Mosquera. P(l)andemia, is a piece played remotely and telematically, each one from their country of residence. This performance consists of two actions: Dystopia and Humans are bio-hazardous, in which video, body and sound intervene. Through the narratives generated in a process of video correspondence and actions performed by each artist, we reflect on the social realities generated from and by confinement.

Bogotá’s Urban Transport becomes a mobile scenery of everyday life. Passengers are also public and characters within these spaces. In Montreal´s STM, I will perform different actions, based on Invisible Theatre situations, to register the reactions of passengers and their possible intervention assuming a role in quotidian circumstances.
Public transport/Daily stages

Bogotá’s Urban Transport becomes a mobile scenery of everyday life. Passengers are also public and characters within these spaces. In Montreal´s STM, I will perform different actions, based on Invisible Theatre situations, to register the reactions of passengers and their possible intervention assuming a role in quotidian circumstances.

This workgroup/shop seeks to explore the concepts of hostility and hospitality within the intersections of space, sensoriality, urban life, perception, representation, and relational art. We want to problematize the legitimacy of the map as a domination technique by contrasting it with individual and subjective cartographies that allow a relationship with the city not structured by urban planning. We are interested in exploring the embodied experience of an urban space through the senses (hearing and sight mostly, but also smell, touch, and taste), using the sensory walk as a research tool on experience and identification of cultural codes. These techniques will allow us to recognize the gestures of urban life, its dynamics and temporalities. What is the imprint of the city on the human body and its gestures? How to document or intervene in spaces marked by certain subjectivities in/of the city (hostile places, places of desire, etc.) in relation to social, economic or political aspects? Is an ethical approach to social dynamics possible through sensory immersion? Our methodology and work dynamic will focus on the embodied and sensorial experience through the compilation, re-interpretation and intervention of audio-visual documents (mainly maps, photos, audio clips and video).
(Co-Conveners: Amanda Gutierrez, Aurelio Meza and Alejandra Jiménez)
Sensoriality and the City: Cartographies of Subjectivity

This workgroup/shop seeks to explore the concepts of hostility and hospitality within the intersections of space, sensoriality, urban life, perception, representation, and relational art. We want to problematize the legitimacy of the map as a domination technique by contrasting it with individual and subjective cartographies that allow a relationship with the city not structured by urban planning. We are interested in exploring the embodied experience of an urban space through the senses (hearing and sight mostly, but also smell, touch, and taste), using the sensory walk as a research tool on experience and identification of cultural codes. These techniques will allow us to recognize the gestures of urban life, its dynamics and temporalities. What is the imprint of the city on the human body and its gestures? How to document or intervene in spaces marked by certain subjectivities in/of the city (hostile places, places of desire, etc.) in relation to social, economic or political aspects? Is an ethical approach to social dynamics possible through sensory immersion? Our methodology and work dynamic will focus on the embodied and sensorial experience through the compilation, re-interpretation and intervention of audio-visual documents (mainly maps, photos, audio clips and video).
(Co-Conveners: Amanda Gutierrez, Aurelio Meza and Alejandra Jiménez)