An arresting work set to a jarring sound score that incorporates the voice of Donald Trump repeating the word “billions,” text in English and Spanish from Gloria Anzaldua’s Borderland/La Frontera, mockingbird songs and poetry from the nauhatl tradition. This excerpt is part durational performance art and part spontaneously composed dancework. In it, the dancer juxtaposes whiteness through restriction of movement and chicanisma through fluidity in order to negotiate her mixed heritage in real-time. In reference to Donald Trump’s visit to Puerto Rico after Hurricane Maria devastated the island territory, the dancer produces and hurls paper towel roles into the audience.
This excerpt of Qué gringa, que gringa premiered at the Texas Dance Improvisation Festival 2018.
Inspired by Sandra Cisneros, Gloria Anzaldua, Melissa Lozada-Oliva, and Arnoldo de Leon, Megan is currently developing an autobiographical, evening-length solo work titled, Qué gringa, que gringa which loosely translates to What white girl, that white girl. The dancework is helping her develop movement rituals that reconnect her to her unknown ancestry, as well as explore her adoption, identity, and mixed heritage within the current political climate in the United States. With her story as an anchor, the dancework will also engage audiences in simple, no-stakes choreographic tasks that encourage them to consider and be in dialogue about immigration, heritage, belonging, privilege and power.
Megan began working on Qué gringa, que gringa in August of 2018. It is designed to become an evening-length interactive solo that incorporates action dialogue with commissioned choreography, and spontaneous composition (improvisation.) Upon completion, it will be presented for Spanish- and English-speaking audiences, only revealing its full form to bilinguals. The goal of the work is to increase dialogue between the two populations as a small-but-mighty antidote to our politically polarizing times.