Moyra Silva Rodríguez is a Peruvian performing artist and researcher. She holds a BA in performing arts and a contemporary dance diploma. Currently she is an Erasmus Scholarship holder for the MA Choreomundus 2020-2022 (UK, England and Norway).
Since 2009 she has worked professionally as dancer and actress with important directors and theaters in her hometown Lima and abroad. From 2010 to 2015 she developed the independent theater group “Panparamayo” and the solo project “Reflejo animal”. In 2012 she started a collaborative duo with composer Adele Fournet “CorpusMedio”. In 2019 in Lima, she was awarded with the ICPNA Theater Festival for her play “Nave” and selected to bPunto de Encuentro, a Programme for independent artists-managers in Perú of Sala de Parto Festival. Abroad she was selected to take part in the Visitors Programme 56. Theatertreffen-2019 by the German Federal Foreign Office and Goethe Institut in Berlin, Germany. In 2020, the experimental performance, "Pirotecnia” was part of “Temporada Alta Festival” in the Alliance Française of Lima and “Nave” was selected for the Performing Arts Festival of Lima- FAE 2020.
Workshop selected to be part of the community activities of CULTURAYMI, Pan American Games Cultural Programme“JUEGO DE LIMA 2019”
Museo metropolitano de Lima (PE)
Facilitators: Moyra Silva and Urpi Castro/ Tremenda Espacio Cultural
‘De Ida y vuelta’ was an interdisciplinary workshop for children, with and without disabilities, aged between 6 and 9. Through sensitive, corporal and sound experimentation, it explored the link between the environment and the identity of each participant, based on the oral narrations of each child about the place where they live. In this way, they reflect on their link with their diverse environments, memories, identities and imagination.
Taller seleccionado para formar parte de las actividades comunitarias de Culturaymi, Programa Cultural Juegos Panamericanos Lima 2019
“De Ida y vuelta” fue un taller interdisciplinar para niños, con y sin discapacidad, de entre 6 y 9 años. Que a partir de la experimentación sensible, corporal y sonora exploró el vínculo entre el entorno y la identidad de cada participante, a partir de las narraciones orales de cada niño sobre el lugar donde vive. De este modo, reflexionan sobre su vínculo con sus diversos entornos, recuerdos, identidades e imaginación.
Ritual and protest during the 8M actions in London (2022) by the feminist Latinx community
It was London, but the streets felt like a demonstration in Latin America.
The 8M as the international and official date to celebrate women’s day drove me to pursue the ritual of taking the street to commemorate the women’s fight led by the Latin feminist community in London. I view ritual and protest as forces of social change (Rothenbuhler, 1998:50) which are an outcome of crisis contexts. Besides, these contexts become the proper locus to create ritualised acts. In the case of the study, I look at the repetition of ritualised actions performed in the public space, which re-enact practices from homelands in the new host land. Examples of these practices are singing feminist harangues in Spanish and Portuguese and performing ‘A rapist in you path’ during the demonstration.
Although the 8M is a western commemoration of the Women’s strike, it has become part of the Latin feminist movement -including trans-feminists and indigenous peoples, as they embraced the date to express an assortment of demands, such as the legalisation of abortion, violence against women, femicide, gender labour equality, and rejection of conservative regimes. In South America, even though each country is struggling with particular scenarios of political crisis, in the last eight years common achievements are shared among the feminist groups to recognise their fight. The following became part of contemporary Latin feminist history: the street performance ‘a rapist in your path’ (Chile, 2019), the legalisation of the abortion (Argentina, 2018) and the ‘ni una menos’ movement (Argentina, 2015). Besides, each one has provided symbols to the cause, such as the green scarves for legalisation of abortion.
Latin feminist theorist Veronica Gago defines the women’s strike as a ‘saga’ because ‘it is not an isolated event; it is structured as a process’ (Gago, 2021:21). The actions have a past and continuity, thus resulting from previous endeavours and go into the future. A relevant example of a saga in feminist latin protest is the case of street performances in Chile. In 1978, the Association of Families of the Detained-Disappeared (AFDD) created the ‘La cueca sola’, a revolutionary dance to condemn the massively disappeared bodies during the dictatorial government of Augusto Pinochet.Forty years later, the street performance ‘a rapist in your path’ by La Tesis became viral. The performance was not only repeated on the streets, it spread on social media channels such as Facebook and YouTube. In 2019, it became a transnational action beyond language and physical barriers as it was adopted by feminist collectives worldwide. The action appeals to audiences as a sharp denunciation of violence, demonstrating collectiveness within a visually impressive composition of bodies on the streets.
The Liminal space
‘Now it felt very Latin, very Latin American. Certainly, I haven’t been to other marches in other parts of Latin America, but it felt like Chile. If I go to a march, banners and shouts, noise and party, and carnival’ (Naia, 2022)
The multicultural city of London became a unique scenario for the 8M as the Latinx bloc challenged the status quo of the city through a vivid and peaceful invasion of voices and bodies. Firstly, the Latinx bloc embedded the streets with joy; even though the women claimed against the patriarchal system and femicide, their way of doing it was catchy, loud and playful. This kind of practice reveals ‘the power of performance and performative objects as an effective mechanism both for the transmission of the collectives that participate in the protests, and for their impact on the sectors they intend to attract the attention of’ (Domínguez, 2022:38). The music and dance became contagious, facilitating the presence of a collective body, as members or non-members of the Latinx bloc empathised to be part of the exact cause. In this experience, the live music performed by the Batucada percussion ensemble was essential to invite the bodies to dance, creating a climax during the protest. Secondly, the demonstration created an extraordinary time-body space, addressing a secular belief that the protest transforms the status quo. The ritual begins a suspension form of the established social order, which allows particular symbolic actions. In the case of the study, the use of mother languages enacted an inversion in the structure. Spanish and Portuguese became the ‘official languages’ as the Latin feminist community massively moved through the centre of London shouting and giving speeches. Furthermore, the Spanish was not only heard; but present visually on banners (cardboard or banderoles, usually made by hand) as a medium to deliver the messages. In an immigrant’s everyday life, English is the official language, as it is mandatory to express in all levels of social life. However, on this day, voices rising in Spanish were strong. Walking through the London city’s centre streets, listening to Spanish out loud, and also Portuguese, was a unique experience. By closing the eyes and just listening to the soundscape, it feels like it was happening in South America, instead of in London. Moreover, this soundscape reminded us that emotions take us through our mother language, voices of liberation challenging a system, in which they are foreigners. The women took Orange street, haranguing in Spanish: ‘Aborto legal, en el hospital’ or ‘Se cuidan, se cuidan los machistas, América Latina será toda feminista’. The value of speaking in the mother language express that ‘there is only one way to convey an emotion. And this can only be done in one’s language’ (Naia, 2022).
By reaching the official point of encounter of the march on Leicester Square, two public speeches were given, first one in English and the second one by Brazilian feminists, who expressed their opposition to president Jair Bolsonaro. Again classic harangues became protagonists on the streets, voices singing out loud: ‘Fora Bolsonaro! Bolsonaro Fora!’ and singing a protest song in portuguese. Follow by spanish: ‘Ni una más, ni una más, ni una asesinada más’, ‘Ni una menos, vivas nos queremos’. This electrifying moment reached its maximum when the Batucada percussionist ensemble started playing, as in a carnival, women shout and dance collectively.
The Balao 2020 residency program consisted of 5 creative residencies with the participation of 7 artists in 6 different cities for about 21 days. As part of my creation/research processes, I elaborated a manual reflection intertwined stories and provocations about creation at home.
‘Estos meses de encierro han significado habitar más que nunca reconocer mi ser en mi hogar familiar. Aceptar que soy un menjunje de seres nieta, artista, enfermera, trabajadora independiente desempleada, re-estudiante, etc… Durante las semanas de residencia Balao, he creado mientras cocinaba, mientras dormía, mientras cuidaba a mi Oma (abuela): le ponía gotas, le tomaba la presión y preparaba nuestros alimentos’ (Extracto de sección 2: Crear en casa)
‘These months of confinement meant to inhabit more than ever, to recognize my being in my family home. To accept that I am a mishmash of beings, granddaughter, artist, nurse, unemployed freelancer, re-student, etc… During the weeks of my Balao residency, I have created while cooking, while sleeping, while taking care of my Oma (grandmother): giving her drops, taking her blood pressure and preparing our meals’ (Excerpt from section 2: Creating at home)
The Manual Reflection includes texts and audiovisual support.
‘I was rummaging through grandma’s wardrobe. Each cloth inspired me to create a story woven from her memories. MOI is wearing a magical universe, a playground in a particular universe. Clothes to get lost in dreams and our childhood’.
Alternative clothing, the project included the brand’s collections (summer and winter) and costume design on request.
Position: Creative director, concept, design, graphic and media designer.
‘Rebuscaba en el armario de mi abuela. Cada prenda me inspiró para crear una historia tejida a partir de sus recuerdos. MOI viste un universo mágico, es un patio de recreo en un universo particular. Ropa para perderse en los sueños y en nuestra infancia’.
Proyecto de indumentaria alternativa. Colecciones invierno y verano y diseño de vestuario a pedido.
Cargo: Directora creativa, diseñadora de conceptos, diseños, gráficas y media.
Model: Claudia Oliveira Photographer: Ana Rosa Benavides
Encounter and dialogue to explore the concept of “America”. A collaboration between Diego Marin (Mexico) and Moyra Silva (Peru). During the first weeks after arriving in London. We often heard, indirectly and subtly, that we were not “Americans”. Although we come from South America (Peru) and North America (Mexico), this exclusion of the ‘American’ continent made us feel uncomfortable. Who is American? What is America?
A workshop to explore, discover and enjoy a personal movement. The participants guide through different instructions to trigger imagination and awaken our body awareness. The dance experience is intergenerational and can be adapted depending on the group’s specific needs. This experience aims to enjoy and feel free to move our bodies.
Video dance created for “Bailar la propia” research movement course. Nostalgia in the present, talking hands and silent lips, playing with space and time. A sad joy on a Barranco night. Performance: Romina Granda and Fernanda Luna. Camara y edition: Moyra Silva