Mir Zaynen Do!
Other contributions
Summary, in English
One channel video and sound installation, 11.35 min.
In communities of the diaspora, music can be a powerful tool for collectively preserving memories. Along with storytelling, traditional languages, and dancing, songs can represent a living home for stateless nations.
Commissioned by the Jewish Brazilian art space Casa do Povo, Yael Bartana's new work brings together two groups from two different diasporas: Coral Tradição, a Jewish Brazilian choir born from the now-destroyed Yiddishland (a nation whose borders were defined by the reach of the Yiddish language itself), and Ilú Obá De Min, an Afro-Brazilian street music ensemble that stems from Candomblé culture. In an exercise of weaving new possible alliances, Bartana's video is an invitation to imagine the emergence of collective bodies beyond fixed identity labels.
The work was shot in the Teatro de Arte lsraelita Brasileiro (TAIB), which was built in the basement of the Casa do Povo in 1960. The TAIB was created for a future that never fully happened: the return of the Yiddish language. Nevertheless, it became the dream theater of the experimental performing arts scene in São Paulo in the 1960s and ’70s, only to fall into a crisis in which it still finds itself today. It is in the ruins of this legendary theater that Bartana imagines a time to come – between past and present, memory and pre-enactment, the sung word and collective choreographies.
In communities of the diaspora, music can be a powerful tool for collectively preserving memories. Along with storytelling, traditional languages, and dancing, songs can represent a living home for stateless nations.
Commissioned by the Jewish Brazilian art space Casa do Povo, Yael Bartana's new work brings together two groups from two different diasporas: Coral Tradição, a Jewish Brazilian choir born from the now-destroyed Yiddishland (a nation whose borders were defined by the reach of the Yiddish language itself), and Ilú Obá De Min, an Afro-Brazilian street music ensemble that stems from Candomblé culture. In an exercise of weaving new possible alliances, Bartana's video is an invitation to imagine the emergence of collective bodies beyond fixed identity labels.
The work was shot in the Teatro de Arte lsraelita Brasileiro (TAIB), which was built in the basement of the Casa do Povo in 1960. The TAIB was created for a future that never fully happened: the return of the Yiddish language. Nevertheless, it became the dream theater of the experimental performing arts scene in São Paulo in the 1960s and ’70s, only to fall into a crisis in which it still finds itself today. It is in the ruins of this legendary theater that Bartana imagines a time to come – between past and present, memory and pre-enactment, the sung word and collective choreographies.
Topic
- Visual Arts
Keywords
- diaspora
- Candomblé culture
- Yiddishland
- collective choreographies
- memory
- pre-enactment
- music
- choir
Status
Published