Pop Wuj I - Three Performers- Salvador Torré
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The works of primitive art move us because we find them a bit of ourselves, of our ancestral beings. However, primitivism, far from presenting the same consistency of their origins, must be reconstituted, reinvented as it is not the original, so he invents on the one hand the old otherness, which was, what was or imagine what it was on the other hand the identity of the "modern" or "post-modern" inscribed in the present.
It is not the first time I approach the Mesoamerican mythology. For example at the concert for flute and percussion composed in 1996 "TZOLKIN" I allude to ancient Mesoamerican thought. Although we are a product of Western civilization whose starting point is the Greco-Roman civilization, Greek and Latin classics seemed a little distant to the classics that were generated in the land where I was born: America. Precisely because our Westernizing education these nearby stories seemed more enigmatic, fascinating, as coming from a fantasy world, they were smart product of the ancient inhabitants of these Middle America was a melting pot of beliefs combined with fantasy and creativity inspiring, even if viewed from today and were not historically true, take to the imagination even more.
The primitivism current artistic trends can be evocative of a return of the generators principles. Primitiveness consistent percussing while a text is pronounced, making the percussion colored by the text and vice versa. The fact that all play together and so is a sign of primitivism, and more today: the current popular demonstrations as the "body percussion", rap, text hammered that allows us to re-discover the expressive power of the human primal, the discovery of his speech, affective power of ritual, magic, the origin of the myth, the shamanic, the origin of the sacred.
The text used is the ancient book of Maya-Quiche people “Popol Vuh, or Pop Wuj revised by Sam Colop, a prominent Guatemalan linguist who discovered that the text is written in verse, something that threw me to discover a new world of strange sounds of the Maya-Quiché, which detonated a re-encounter with this text and a different way of re-reading.
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Mauricio Dottori
José Halac
Voro Garcia
