In the U.S., Rome, Mexico and France, he lived and deepened her interest in issues of migration, the environment and everyday life brought to the boards. In New York, he studied at the school of Merce Cunningham, the legend and a key part of the contemporary dance. Back to Peru three years ago, Karin Elmore confesses to being bored of vegetarianism and appreciate ever more the slow, at times fast, at. Start this conversation with a tea by any means, without much preamble.
— Your teacher Cunningham said that the dance does not give you more than that fleeting moment in which you feel alive.
Indeed, those moments in which you desprendes of consciousness, as an exercise of meditation through movement, ephemeral, and perhaps that is the interesting thing: you can not catch, can not catch.
— Would you say that the lima public is indulgent towards the local shows?
Here there is a huge problem that comes from the time of terrorism, when Lima started a decline fatal, because I remember until the year 79 that I went to see Pina Bausch at Teatro Municipal, came to big business and cutting-edge, thing that nowadays you can dream of. From the years 80 they started to get fewer things, and, with the terrorism, this ended in the year 92 with the theaters empty. Then, what has been done after is a reconstruction of the life of the show. We are in the 2017 and during these 25 years, the time of the imprisonment of Maritza Garrido Lecca, was lost to the public, almost disappeared in the dance, as a sector, and then they have recreated the theater and the dance, but now most of the young people who produce practically have not seen anything, and almost everything is very similar, there is a real investigation.
— The issue of migration has been present in your previous work. How to migrate is to die a little?
Life is to die a little. Migrate can be superdoloroso, depending on the reasons that will motivate them to do so, the most forced by the political or economic situation of their countries and then, yes, it is dying a little bit, it is a displacement, and forces you to concentrate all your forces on your person, in your body: the body of the immigrant is his country, his memory, his family, their neighborhood, their ancestors, their experiences and experience.
— And as a migrant, personally, what would you say what was the aspect of our culture that more you liked it leave behind?
The criollada! The living, who wants to pass first in the queue, which gets you into the car, and each time you return to impress me more, because it is as if this aspect had been solidified, it has assumed a power, has taken the power of Congress, and while before they were bad habits, now it seems to be a cultural practice, combined with the arrogance.
— You worked cleaning houses in New York to pay for your studies, which to some might sound like a tough experience.
The peruvian case of women domestic workers is another thing, because in any part of the world clean houses and no one has to maltratarte. Now, that one to the clear waters to feel humiliated because that is a personal problem. I did not feel humiliated. It is more, sometimes you have to go through that in order to relativize what one thinks of himself, is an exercise in humility as well. But here we are at the levels of the apartheid of south Africa forty years ago.
— With a separate bathroom for the maids of the household.
And other towels, other dishes, other food, and other covered! It is something that to me surpasses, very ugly, very violent.
— What are the strange times in which bailabas more?
Live on tour at festivals is a precious thing, but has an age, because there comes a time when you have a child, which you appreciate to be in the home and to wake up at six in the morning to prepare lunch and to be with him. It is another stage in life and I did it to my son when I was 36 years old, and to say that he had danced well. And then the body is going to fall to pieces, let’s be honest, that is, how many years you can use your body for seven hours a day in a exaggerated way? Not much more is up to 40. After that one can continue working, but you have to go amoldándote the state of your tendons, which do not forgive, and the state of your spine.
— My mother has always said that you need to know to grow old with courage.
Exact, and with honor. Because, yes, it’s the debacle.
Date: from 13 to 19 October.
Venues: House of Peruvian Literature, French Alliance of Miraflores, Italian Institute of Culture, the C. C. of Spain.
Information: hours and location of each workshop to the e-mail firstname.lastname@example.org