534-538 Congress St
Portland, ME 04101
USA
Hogfish & SPACE present three dynamic, next-generation Latinx performers from Hogfish’s 2023 artists-in-residence who share their perspective on the Latinx experience in America today through poetry, song, and dance.
The 2023 Hogfish artists-in-residence will share selections of their works in progress. Afterwards, we will invite feedback from the audience and the artists through a guided Q&A session with Hogfish directors Matt & Edwin Cahill searching for the next best steps in their work’s development. Be a part of the future of the regenerative arts!
Hogfish is a regenerative arts and artist training company at the historic Beckett Castle on the coast of Maine. They are dedicated to restoring creative and physical health to individuals, our communities, and our earth.
Rachel Hurtado Dunbar
“A Través de Estos Ojos – La Frontera through my eyes”
A reading of poems on life in the borderland.
Cynthia Lópéz Pérez
“Canciones de mi tierra” showcases the song cycle “Cuatro Canciones en Nahuatl” by Salvador Moreno. Nahuatl is an Indigenous language that has been spoken in Mexico since at least the seventh century, prior to colonization. There are many words in Spanish spoken in Mexico that are heavily influenced by Nahuatl, and many famous cities and landmarks still keep their native names such as Xochimilco or Chapultepec. The language is beautiful and sacred to Cynthia’s own Indigenous ancestry and identity. This project aims to amplify works that focus on Indigenous languages and their preservation.
Amelia Rose Estrada
Como Las Hortensias (Like the Hydrangea Flowers) explores themes of Dominicanidad, intergenerational relationality, and the laboring Caribbean woman through the story of Amelia’s grandmother, Minica’s life. Minica grew up in Bonao, a small city in the Cibao region of the Dominican Republic. Throughout her childhood and teenage years, she lived with her aunts and worked as a maid in return for room and board. When she immigrated to the U.S., she worked as a seamstress in New York, married in her early twenties, and had five children. She navigated the complicated realities of being an immigrant, non-English speaking, Caribbean woman living in the U.S. This performance work considers how gender-based labor and violence often intersect in the body. Critically, Amelia inserts pleasure and desire into the work to reintroduce agency and joy into histories marked by trauma, capitalism, and coloniality. She is interested in how the body in motion can ask questions about labor, sexuality, immigration, and how systems like capitalism, racism, and patriarchy impact Latina women in the diaspora.