Your time has come to fly

You have no borders

With brightly colored papel picado (cut paper banners), tissue flowers, and Latin American flags festooning the performance area at San Francisco's Z Space, David Herrera Performance Company's September 2023 event, ÓRALE!, promised fun and festivity. On its surface, the performance resembled a typical dance program, with an ensemble of ten dancers performing eleven separate pieces choreographed to songs from the catalog of El Vez, the Mexican Elvis, but an exciting hybrid form of movement theatre emerged through the interplay of live music, dance, and El Vez. Built around the music and performances of Robert Lopez, who has performed as El Vez for more than thirty years, ÓRALE! offered an opportunity for an intergenerational community of artists to find themselves in El Vez's work, and for Lopez to see his own vision reflected in the interpretations of the young dancers and choreographers involved. This article considers how ÓRALE! harnesses the creative possibilities of resisting the implied disciplinary borders that too often separate music, dance, and theatre performance. We begin by discussing the creative invitation that El Vez offers, to make clear how he uses his art as a form of world building, using popular culture to critique US American society, make visible the disparate cultural traditions that exist within US American cultural forms, and to envision new ways of being. We then discuss ÓRALE! following two different through lines: process and product. The collaborative process of ÓRALE! was a site of cultural, intergenerational, and geographic exchange, inviting both performers and audience into a genre-defying performance that raised critical questions around intermediality and transtemporality in the arts. As a process very much in development, the collaboration experimented with learning through doing that led to a performance event that was at times messy and at times magical. Following Elizabeth Ellsworth, ÓRALE! was an example of “knowledge in the making,” a fluid experience through which “the self is understood as a becoming, an emergence, and as continually in the making. This . . . moves us beyond a contemporary politics of difference based in semiotics and linguistics toward an experimental ‘pragmatics of becoming’ based on making and doing.” The event embodied a Muñozian process of disidentification to bring into being a utopian present, residing in this space of becoming and of knowledge in the making to reveal the complexities of Latinx subjectivity while rejecting essentialist understandings of race, ethnicity, and culture.

您的飞行时间已到

 你没有国界

旧金山 Z Space 的表演区装饰着色彩鲜艳的 papel picado（剪纸横幅）、纸巾花和拉丁美洲国旗，David Herrera Performance Company 于 2023 年 9 月举办的活动 ÓRALE！承诺带来乐趣和节日。从表面上看，这场表演类似于一个典型的舞蹈节目，由 10 名舞者组成的合奏团表演了 11 首独立的作品，这些作品是根据墨西哥猫王 El Vez 目录中的歌曲编排的，但通过现场音乐、舞蹈和 El Vez 的相互作用，出现了一种令人兴奋的混合运动戏剧形式。ÓRALE！围绕着罗伯特·洛佩兹 （Robert Lopez） 的音乐和表演而构建，罗伯特·洛佩兹 （Robert Lopez） 以 El Vez 的身份表演了 30 多年，它为跨代艺术家社区提供了一个机会，让他们可以在 El Vez 的作品中找到自己，也让洛佩兹看到自己的愿景反映在参与其中的年轻舞者和编舞家的诠释中。本文探讨了 ÓRALE！如何利用创造性的可能性来抵制隐含的学科界限，这些界限往往将音乐、舞蹈和戏剧表演分开。我们首先讨论 El Vez 提供的创造性邀请，以阐明他如何将他的艺术作为一种世界构建形式，利用流行文化来批判美美社会，使存在于美美文化形式中的不同文化传统可见，并设想新的存在方式。然后，我们讨论 ÓRALE！遵循两条不同的直通线：流程和产品。ÓRALE！是一个文化、代际和地理交流的场所，邀请表演者和观众参与一场挑战流派的表演，提出了关于艺术中的中介性和跨时间性的批判性问题。作为一个非常正在开发的过程，合作尝试边做边学，这导致了一场时而混乱，时而神奇的表演活动。继伊丽莎白·埃尔斯沃思（Elizabeth Ellsworth）之后，《ÓRALE！》是“知识形成”的一个例子，这是一种流动的体验，通过这种体验，“自我被理解为一种生成、一种出现，并且不断形成。这。。。使我们超越了基于符号学和语言学的当代差异政治，走向了基于制造和行动的实验性'成为的语用学'。该事件体现了穆尼奥兹式的去认同过程，以形成一个乌托邦式的现在，存在于这个成为和正在形成的知识空间中，以揭示拉丁裔主体性的复杂性，同时拒绝对种族、民族和文化的本质主义理解。