EDELO INFO

SANTOS/SAINT

Santos fue un proyecto de colaboración entre la artista Mia Eve, la comunidad Tzotzil Elambo de Zinacantan, y el protagonista de la performance, Santos Hernández de San Juan Chamula, Chiapas. El escenario principal corresponde al territorio de la comunidad, que se adhiere a la Sexta Declaración de la Selva Lacandona EZLN Zapatistas.  

 

Este trabajo fue el resultado de años de colaboración artística entre Mia Eve y la comunidad, y ella con Santos, que ella reunió en este día de " psycho magica."  

 

Santos, un hombre sin extremidades, con la comunidad, representó una escena de entierro violento yuxtapuesto a un escenario en el que se convirtió en un dios guerrero. Las extremidades se formaron en una esvástica nazi a su alrededor, y luego las extremidades se invirtieron para resaltar el significado original del símbolo: la abundancia. El trabajo fue extremadamente colaborativo y experimental, por lo que no tuvimos ningún mensaje racional, sino que jugamos con poderosos símbolos en nuestro subconsciente comunitario.  

 

A partir de la documentación de este día, se edita un cortometraje que se mostrará en Elambo, a la comunidad original que actuó en él en 2020, y se espera que se muestre en los festivales de cine zapatistas que están sucediendo de vez en cuando. Para esto, viene a la mente la acción zapatista de resucitar a las personas martirizadas, como Zapata o Galeano.  

 

Además, se mostrará en el contexto de los Estados Unidos, en lugares de galerías de arte y en dominios públicos con actuaciones junto a otros amputados. Aquí creo que la violencia del símbolo nazi, así como la apropiación cultural, podría ser un diálogo importante.  

 

También creo que él habla solo en un nivel más humano de nuestras luchas personales de bien y mal. Cómo se ve a las personas a través de una lente racista considerada como humana o no ... "discapacitada" o "alienígenas" como migrantes, etc.

 

 

 

 

 

 

 

Dedicado a mi amado Pablo Milan. RIP Hermano

Santos was a collaborative project between the artist Mia Eve, the Tzotzil Elambo community of Zinacantan, and the protagonist of the performance, Santos Hernández of San Juan Chamula, Chiapas.

 

The main scenario corresponds to the territory of the community, which adheres to the Sixth Declaration of the Lacandon Jungle EZLN Zapatistas. This work was the result of years of artistic collaboration between the Mia Eve and the community, and her with Santos, which she brought together on this “psycho magic” day.  

 

Santos, a man without limbs, with the community, represented a scene of violent burial juxtaposed to a scenario in which he became a warrior god. The limbs were formed in a Nazi swastika around him, and then the limbs were reversed to highlight the original meaning of the symbol: abundance. The work it was extremely collaborative and experimental, so we did not have any rational message, rather we played with powerful symbols in our communal subconscious.  From the documentation of this day, a short film is being edited and will be shown in Elambo, to the original community that acted in it, as well as hopes to be shown in Zapatista film festivals that are happening from time to time. For this, the Zapatista action of resurecting people who are martyred, such as Zapata or Galeano, comes to mind.

 

In addition, it will be shown in the context of the United States, in high art gallery venues as well as in public domains with performances alongside other amputees. Here I believe that the violence of the Nazi symbol, as well as cultural appropriation, could be an important dialogue. I also believe that he speaks only on a more human level of our personal struggles of good and evil. How people are seen through a racist lense deemed as human or not ... "disabled" or "aliens" as migrants etc ...  

 

This work was a collaboration with Santos Hernandez from Chamula – the protagonist, Baha Al-Zain from Jordan/Palestine, the EZLN Elambo community and EDELOMigrante. Together, we created a mythical public spectacle that reflected the need to create myths in order to understand the complexities and layers of disability, autonomy, violence, cultural appropriation and colonialism.

 

We acted out a scene of violent burial juxtaposed with a scenario in which Santos became a warrior god. In this work, Santos created his own narrative, choosing his own Mayan warrior costume and approving or rejecting various props or actions to best reflect his own Mayan descent, his perception of his body, and the indigenous history of the broader community.

 

Being there that day was an amazing experience because we left the rational behind; it felt more like we were figures in an actual dream acting out our generational traumas and transforming them, using collective symbology.  It felt as if we had created a dream telepathy where the potent symbolism was shared from one person’s subconscious to the others.  It functioned cross culturally as we could all identify with the subconscious languages in the air that day.