TRAVESÍA CORPORAL
A body arrives in a place that is not its own.
It carries an invisible territory with it: gestures, memory, displacement.
The encounter with another migrant body opens a space for listening.
From there a living archive of experiences is born, not of victims' accounts.
DESCRIPTION
Travesía Corporal is a process of encounters and workshops with migrant women, held in the places where they arrived. It is part of the interdisciplinary triptych Sea of Silence (2020), which Tamara Cubas develops together with Esculpir el Silencio and Monnula.
In these encounters, the migrant body is approached not through the victim's account, but through desire, experience and learning. Through movement and listening, the participants share their bodily and territorial trajectories.
The work builds a living archive of gestures, memories and displacements, which becomes creative material for the rest of the triptych: the sound installation Esculpir el Silencio and the stage work Sea of Silence.
Travesía Corporal is, in this way, the process of research and encounter that sustains and gives rise to the universe of Sea of Silence.
CREDITS
Direction: Tamara Cubas
Format: Bodily encounters and workshops
Participants: Migrant women, in the places where they arrived
Locations: Cádiz, Spain · Los Angeles and Chicago, United States · Guadalajara, Mexico (FM4 Paso Libre)
Year: 2020
Type: Research and collective creation process
Context: Part of the interdisciplinary triptych Sea of Silence
Source: interview "Tamara Cubas: arte para indagar el mundo", Magis magazine (ITESO)
TEXTS
Tamara Cubas honors women who cross borders alone
Irene Hsiao · Chicago Reader · November 16, 2020
Summary (AI-generated): Irene Hsiao reports on Tamara Cubas’s residency at High Concept Labs in Chicago (November 6–12, 2020), part of the research for Esculpir el silencio / Mujer cuerpo. Over a week of daily workshops, undocumented women living in Pilsen and Little Village reconstructed their journeys from Mexico to the United States through storytelling, maps, drawing, writing and movement, writing in the first person and the present tense and focusing on what the body felt. Producer Alicia Laguna (Teatro Línea de Sombra) describes the method. The article links these tools to La patria personal, Cubas’s work with her own family’s memory of the Uruguayan dictatorship (El día más hermoso, Formas de la ausencia, Actos de amor perdidos), and to the impulse to survive at the core of her work.