PAOLA DE RAMOS

Displaced

Displaced. Daily Life . streets of London. 2012
Displaced. Daily Life . streets of London. 2012
Displaced. Daily Life . streets of London. 2012
Displaced. Daily Life . streets of London. 2012
Displaced. Daily Life . streets of London. 2012
Displaced. Daily Life . streets of London. 2012
Displaced. Daily Life . streets of London. 2012
Displaced. Junction: North London Cultural Consortium. London. 2012
Displaced. Junction: North London Cultural Consortium. London. 2012

Displaced is a performance created to express my experiences of being foreigner and the feeling of displacement and problems of culture clashes. The costume has an essential part of the performance. Believing that the skin, external part of the body, that interacts directly with people and can trigger first thoughts about someone -like being sympathetic or prejudice -in my mind my costume was my skin. A Skin that represents my complex sentiment of being the meeting point of the conflict encounter of two cultures.

Creating a "skin", a costume, for another being that is me, is a massive challenge. I researched costumes from all over the world and also Brazil. I tried to combine elements which would refer to Brazilian culture, but not in an explicit way. Since I was inspired by Old Portuguese legends of creatures from Atlantic Ocean1, I looked at fishes and elements from the sea. I bought fabrics, used my old clothes, sewed and glued materials together, to create a creature without origin, gender and age. This denial of references seemed to make the interaction between me/creature and the people in the street even more complicated. Without a clear reference people wouldn't know how to react to and behave with my creature. The consequence would be a general misunderstanding.

The performance was planned in a way that would show my daily life, but with spontaneous actions of the character. During the performance I couldn't speak English, and limitations coming from wearing the costume wouldn't allow me to show my facial expressions, ethnicity, gender, age and didn't let me gesticulate well and express what I wanted to communicate. Trying to challenge my performance as well as the audience, I was creating the persona of this character at the same time as I was doing the performance. In this way, I thought the character would reveal itself while interacting with people and arouse more realistic actions and reactions.

Even though, my subject matter come from my experience, by making art I transformed it into ample and communal discussions as cultural and identity related problems. I think taking art out into the streets is a way to make art more accessible, and by interfering with regular daily routine of people's life it can trigger them to think about things that they hadn't the chance to consider. I believe that this performance embodied my experiences and can represent others foreigners or people that feel displaced because of mental or physical problems.

References
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FARIA, L. de Castro (Luis de Castro): A arte animalista dos paleoameríndios do litoral do Brasil / L. de Castro Faria. [Rio de Janeiro] : Universidade do Brasil, Museu Nacional , 1959.

FUSCO, Coco.: English is broken here : notes on cultural fusion in the Americas . New York : New Press, c1995.

LOLA ROMANNUCCI-ROSS, George A. De Vos. Ethnic identity : creation, conflict, and accommodation, editors.3rd ed.. Walnut Creek, CA ; London : AltaMira Press, 1995.

NICOL, J. A. Colin (Joseph Arthur Colin), 1915-: The biology of marine animals / J. A. Collin Nicol. Pitman , 1960.

RIBEIRO, Darcy. O Povo Brasileiro: A formação e o sentido de Brasil. 2a ed. São Paulo: Companhia das Letras, 1999