Navigating the crack between worlds is difficult and painful, like reconstructing things in an oppressive time. Forced to negotiate the cracks between realities. Necessary for survival and growth. My dance takes me to one of the driest deserts in the world, the Atacama Desert. Also known as the black duck, pato negro in Quechua. I go because one part of my ancestors and grandmothers come from that dessert. But also my relationship to longing for a territory that I sense is part of me. In Atacama, there were about twenty women who between the 70s and 90s searched for their relatives. Their story is documented and grabbed me because it’s part of my exil-crack story. The women’s relatives had been dumped by the military during the dictatorship of oppression. Their movements consisted of bending down and picking up, possibly something that could be thought of as bones from their relatives. A movement born of hope.
Direction and choreography Paloma Madrid (Swe/Chi)
Dance Ninoska Valenzuela Benavides (Chile) Paloma Madrid
Photography Elisa Torres (Chile)
Music Carmen Lienqueo and Pintocabeza(Chile)
Editing Petra Coppla Dahlberg (SWE)
Produced by Konstnärsnämnden 2019, shortfilm 4,38 minuter 2020/21