​CAÇADA
this name we don't have yet

​CAÇADA is Idylla Silmarovi's first international production. Created as part of an artistic residency project at PACT Zollverein (Germany) and with co-production sponsorship with the same institution, the work is an invitation to delve into the forests of memory, sharpen the body's senses, sharpen one's instincts. An artistic strategy of collectively exercising presence, attention, tension. We hunt and are hunted. We are simultaneously the predator and the prey.

CAÇADA is an open and liminal work. The show's dramaturgical and choreographic composition includes the presence of protocols and/or performative programs that place the artist and the work itself in a constant state of play, as well as performative actions recorded on video by the artist in the city of Contagem (her birthplace), which is marked by industry, immigration from the countryside to the city, and important workers' resistance movements. In this sense, the audience and the artist share states of presence of the multiterritorial memory in the face of the events on stage.

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The artist articulates between the absence of photographic records/fragmentation of personal family memory and the historical images of Abya Yala (Americas) that populate her creative imagination. If she finds a single photograph of her ancestor carrying a machete in her family, she investigates the narratives about this object throughout the history of the continent as a symbol of female resistance in the countryside and in the city: Struggles of indigenous and peasant women, struggles of working-class women (in her hometown). These are the images that help her recreate her fragmented memory.

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CAÇADA is an achievement and continuation of research by the Ka'adela Platform, and in it, we embark on a performative occupation of theater, where we discuss "language - territory - memory" through the creation of performative and choreographic programs that take place together with and in relation to the audience. If the boundaries are drawn to separate me from the other, the artist proposes blurring them using one's own saliva, body, memory and multiple artistic languages, creating another ephemeral territory.

CAÇADA proposes to the stage, corporalities of memory that, while evoking grandmothers, great-grandmothers and mothers, also evokes the women who came before and are at the forefront of territorial rights. We propose an investigation around the word, languages ​​(colonized, counter-colonized, original and invented, torn out and glued back to the mouth) to think of the word as a collective macumba. In practice, we give ourselves the space to breathe together, and breathing can also mean conspiring, fantasizing, dreaming. A hunter does not always return with the prey, but there is another time that is established in the body, another sensitivity, other ways of listening and being affected.

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In this sense, CAÇADA is a manifest from life here, where we were hurt and became more than the result of pain, where we were killed and we became older than death. A constant drive of life celebrated within our struggles. It manifests itself in the memory, the skin, the image, the spirit that are frighteningly alive. Despite the borders, the concrete, the cities, memory still pulses.