A performer is a rock, and a wall, and the wind that passes by.
A performer is a sediment of memories and oblivions and collective forces.
A performer is a wound. And a traitor.
A performer is a symptom.
Champurrea in Mapudungun - the Mapuche language - means motley, mixed, and heterogeneous.
On the verge of the 21st century, in the south of Chile and Argentina was the height of the “Mapunkies”, an urban phenomenon where young people from Mapuche descent identify themselves in both the Mapuche, and the anarchist-punk tradition. The champurrea form of living they were proposing had a huge impact on many activists, theorists, and young communal leaders.
My father uses the word champurreado to refer to a craft that has been done not following the right steps and not using the proper elements, but finally working out.
Champurrea could be a noun, mostly used referring to a person, an adjective (champurreado), but also a verb - describing the action of introducing in a practice or a thing heterogeneous elements (champurrear).
What I’m provisionally calling “to be rooted” practices is a way to champurrear my practice. This is to say: a way of reshaping my practice introducing heterogeneous elements.
These practices are a series of operations to establish a territory and map a memory (a memory of space, of process, and of my own body).
In the core of them, there is the possibility of reshaping the processes: a way to build a memory of the process and make it available to rewrite and redirect it.
They are working towards a connection between process and dramaturgy, towards an indiscernibility between them. In this sense is working in two simultaneous directions: the sediment and the recycling.
Leaving traces of the process is creating sediment. Using this sediment to create a new thing is recycling. The action of recycling also leaves traces, and so on.
I’m understanding the rooting part of the “to be rooted” practices in three ways.
1) to be rooted in my body and the complex champurrea that is made of: biography and imagination, landscapes and biology, ancestral, personal and collective memories are forces that run through it. My body is a heterogeneous composition.
2) to be rooted in space in order to articulate the forces and relationships that are already present, and from there move to other territories (imaginary, virtual, conceptual, etc.)
3) to root the work and the opening of its possibilities (its desirable future images) in the very process of its construction. To make soil with the detritus and traces left by the doing.
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To be rooted is a practice/