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a besta, as luas — Elizabete Francisca

October 31, 2022 - November 5, 2022

(a besta, as luas)Elizabete Francisca

a besta, as luas — Elizabete Francisca

Influenced by the verse “I don’t obey because I’m wet” from the song “Banho” by Elza Soares, I articulate a possible representation of the political geography of a non-submissive body through gestures and sounds.

Faced with “an absurd life as laws make for us”*, political orders with a dramatic impact on existence of difference and multiplicity in which so many bodies and voices can hardly exist, creates urgency to claim a place of resistance to transform possible weaknesses in arrows and power. The body turns into a political weapon, the last stronghold of any experience, for if it is in it that one can truly review the consequences of a system it is through it that one can reverse processes and realities: in the form of a scream. Affirming individuality in deep reconciliation with its identity and sexuality: from genitalia to head, from head to cosmos, from the cosmos to the ground. A possible prayer in a straight line to stand upright.

* from the book Travels in My Homeland, by Almeida Garrett, 1846


About Elizabete Francisca

Elizabete Francisca was born in Johannesburg, South Africa. She completed a degree in Industrial Design (ESAD-CR), and studied dance at Forum Dança (PEPCC) and Escola Superior de Dança in Lisbon.

She works as a performer and creator in the field of performing arts since 2009. She participated in several projects as a performer, dancer and actress, collaborating with the following artists: with Ana Borralho & João Galante in “Sexy MF”, “I Put a Spell on You”, “Untitled Still Life”, “Art Piss on money and politics”, “Purgatory” and “Here we are”; Vera Mantero in “Good Feelings, Bad Feelings”; “Subreptitious – clandestine body” and “Mais Pra Menos Que Pra Mais”; with Rita Natálio in “I don’t understand and I am afraid of understanding”, “the world scares me with its planets and cockroaches”; with Loic Touzé in “Ô Montagne” and “Around the Table”; with Tânia Carvalho in “Icosahedron”; with Mariana T. Barros in “Piece of the Heart”, and with Mark Tompkins in “Improvisations and collaborations: Improvisation on the basis of Terry Riley’s IN C”, amongst others.


October 31, 2022
November 5, 2022
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