»Endangered Human Movements«, as you asked me, has to do with remembering. Remembering other forms of existence, of thinking, of being in the world, of knowing. I once worked with a shaman, a Mara’akame from north-east Mexico, on a piece called The Jaguar and the Snake. I invited Rolando Vázquez, a scholar and decolonial thinker and when we were sharing together, I asked him:
»Rolando, can you explain to Maestro Katira – who is a wise man with a lot of knowledge, but not in the Western sense – can you explain to him what decolonial thought is?«
First, he thought: »Oh! How am I going to do that?« Then Rolando told him:
»Maestro Katira, coloniality is the imposition of forgetting. It makes people forget that there are other forms of being together, of knowing, of understanding the world, of existing – of making a body. Decoloniality is the act of remembering all those things that have been dismembered by coloniality. Decolonial thought is the pearl of memory.«
I think this project »Endangered Human Movements« has to do with that, with remembering, by enabling those forms of being to reappear in the world through our bodies. So it’s not only remembering something that has been, it is an active remembering that makes the past exist again in another context, in the context of art or … I feel that somehow we are dealing with ancestral forms of movement, ancestral forms of understanding, of being and relating to each other, and there is something that reappears – and when it does so, it not only speaks with words, it manifests itself in the flesh.
The choreographer and performer AMANDA PIÑA has been collecting movements and dances that are threatened with extinction in her archive »Endangered Human Movements« for many years. In this text, she introduces herself and her work.