{"id":1844,"date":"2024-02-01T18:56:02","date_gmt":"2024-02-01T16:56:02","guid":{"rendered":"https:\/\/observatoriodelplacer.com\/?page_id=1844"},"modified":"2025-02-27T21:17:50","modified_gmt":"2025-02-27T19:17:50","slug":"ass-opera","status":"publish","type":"page","link":"https:\/\/observatoriodelplacer.com\/en\/ass-opera\/","title":{"rendered":"ASS OPERA, singing with the power of erotics por Marja Christians"},"content":{"rendered":"
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_ Residencia 9 – 13 de sept 2024
_ Canto l\u00edrico desde el ano y otres Sirenes del O<\/a> – dom 15 sept<\/h5>\n\n\n\n

Ass Opera_ Deseo transfeminista, er\u00f3tica queerfeminista es recuperando lo erotico suprimido como considered source of power and information within queer lives and sexuality<\/strong>. The erotic as power (according to Audre Lorde) claims the feeling, puts it in the center and takes it from there. counterhegemonic libido strategies<\/strong> that help us remember places of the body and pleasure that were denied or even prohibited to us. As a multidisciplinary dance creator she investigated anus singing and shared oceanic-erotic practices, inviting dissident peers. The Conversation, sound and song come through the anus: transfeminist and queer erotica and desire<\/strong>.<\/p>\n\n\n\n

_ PUNTO DE PARTIDA \/ contexto de la investigaci\u00f3n y creaci\u00f3n<\/em>
Como core\u00f3grafa y cantante de \u00f3pera quiero ampliar estrategias de seducci\u00f3n para invitar a quienes quieran a adentrarse al oc\u00e9ano erotico rebelde que comienza en el ano<\/strong>. Teniendo como referencia central la obra de Audre Lord USES OF THE EROTIC: THE EROTIC AS POWER (1978) conecto en mi practica con su poder transformador: \u00abReconocer el poder de lo er\u00f3tico dentro de nuestras vidas puede darnos la energ\u00eda para perseguir un cambio genuino dentro de nuestro mundo\u00bb, afirma ella.
Quiero traducir y investigar este poder de lo er\u00f3tico en practicas art\u00edsticas seductoras y performativas del canto del ano<\/strong>. La investigaci\u00f3n se dar\u00e1 a partir de una escucha profunda de los deseos eroticos (en el sentido de Lorde) que nos mueven a encontrarnos con cuerpas que sienten profundamente las relaciones con otres humanes y no humanes, que pueden rememorar y escribir narrativas improbables olvidadas o que no han tenido suficiente espacio para manifestarse en un mundo comandado por las fuerzas hegem\u00f3nicas y capitalistas. La ficci\u00f3n es la estrategia para poder activar estas narrativas er\u00f3ticas. El oc\u00e9ano y el agua a trav\u00e9s del canto del ano son el medio y el elemento con el cual practicar y relacionar las
materialidades er\u00f3ticas<\/strong>. Nosotres somos las entidades queer-transfeministas rebeldes que incorporan el erotico y su poder, y todes tenemos un culo y el ano con su poder:
Paul B. Preciado manifiesta la apropiaci\u00f3n del falo: el dildo. Tambi\u00e9n est\u00e1 el poder de sujetar, abrazar, rodear. La fuerza del ano es: la circlusi\u00f3n<\/strong>, como formulada por la activista queerfeminista Bini Adamczak.
https:\/\/thenewinquiry.com\/six-years-and-counting-of-circlusion\/<\/p>\n\n\n\n

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Canto l\u00edrico desde el ano y otres Sirenes del O – domingo 15 sept<\/em><\/h5>\n\n\n\n

Ahhhh, take a deep breath and relax your anus:<\/em><\/p>\n\n\n\n

Come to a performative gathering between Ass Opera and shame as a possibility of queerfeminist eroticism and transformation!<\/p>\n\n\n\n

We invite the audience to watch and experience themselves:<\/p>\n\n\n\n

We performatively present our research SIRENS OF THE O. and seduce the audience to experiment themselves up to a collective Ass Opera chorus.<\/p>\n\n\n\n

No previous singing experience needed, bring or wear ass-friendly clothes.<\/em><\/p>\n\n\n\n

Jasmina Rezig (elle) y Marja Christians (hairy she)<\/em><\/strong> se conocieron para queerificar la \u00f3pera y el canto cl\u00e1sico. R\u00eden, discuten y act\u00faan juntes, actualmente para el proyecto transdisciplin-hairy SIRENS OF THE O<\/p>\n\n\n\n

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Memorias tras la residencia<\/h2>\n\n\n\n

Marja<\/h5>\n\n\n\n

It was a pleasure to present opera for the first time in public since the year at Observatorio del Placer.
\nA special and diverse audience came to our exit from the residency - and we were able to really interact with them after a week of having the spacious room to ourselves.
\nWe were delighted to take this leap with our sensual-artistic experiment ASS OPERA and the associated research on mermaids as queer-feminist figures.
\nThese spaces that allow for experimentation between art and eroticism, sexuality and performance are essential to my work as an artist seeking social transformation and alternatives to capitalist values \u200b\u200bof the body, emotions and sexuality. These opportunities for interdisciplinary work are essential for us as a society to create visions of emancipation and feel it from our bodies.<\/p>\n\n\n\n

Jasmina<\/h5>\n\n\n\n

The showing and feedback discussion after with the audience was very enriching and important for our work up to that point and beyond. On the one hand, it is very valuable in any artistic work to show the interim status to an audience in advance.<\/br>\nTesting the material together with an audience is an essential part of my way of working, as I see the audience as both an actor and an integral part of every performance and only situations like showings give me, as an artist, the opportunity to examine and test my material. In addition, this moment structured our work phases and working methods, which is otherwise often artificially created and therefore does not have the same effect.<\/br>\nFurthermore, it was very exciting for me not to take part in a German feedback meeting, as it enabled me to perceive and reflect on everyday practices and habits in work processes. As a result, I was able to get to know new communicative strategies and perspectives that have inspired me for my future work. The audience was made up of different age groups, among others. The diversity of the audience enabled us to gain a much more accurate picture and knowledge of our work through the subsequent feedback situation, which I perceived as very special.
Probar el material junto con el p\u00fablico es una parte esencial de mi forma de trabajar, ya que considero al p\u00fablico como actor y parte integral de cada actuaci\u00f3n y solo situaciones como las proyecciones me dan, como artista, la oportunidad de examinar y probar mi material. Adem\u00e1s, este momento estructur\u00f3 nuestras fases de trabajo y m\u00e9todos de trabajo, que de otro modo a menudo se crean artificialmente y, por lo tanto, no tienen el mismo efecto.
Adem\u00e1s, para m\u00ed fue muy emocionante no participar en una reuni\u00f3n de feedback alemana, ya que me permiti\u00f3 percibir y reflexionar sobre las pr\u00e1cticas y los h\u00e1bitos cotidianos en los procesos de trabajo. Como resultado, pude conocer nuevas estrategias y perspectivas comunicativas que me han inspirado para mi trabajo futuro. El p\u00fablico estaba compuesto, entre otros, por diferentes grupos de edad. La diversidad del p\u00fablico nos permiti\u00f3 obtener una imagen y un conocimiento mucho m\u00e1s preciso de nuestro trabajo a trav\u00e9s de la situaci\u00f3n de retroalimentaci\u00f3n posterior, que percib\u00ed como muy especial.<\/p>\n\n\n\n

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Marja Christians<\/h2>\n\n\n\n

Core\u00f3grafa | dreamer with a plan | Cantante de \u00f3pera (Berl\u00edn\/Frankfurt\/Barcelona)<\/strong>
desarrolla espect\u00e1culos de danza internacionales y queer feministas con humor cr\u00edtico del poder, m\u00fasica electr\u00f3nica experimental y coreograf\u00eda. Ha sudado la gota gorda con el p\u00fablico en el premio del jurado Sophiensaele del festival 100\u00b0 de Berl\u00edn, en el BEST OFF 2016 (Alemania) y en el FREISCHWIMMEN 2019 (Suiza, Alemania, Austria) con el legendario d\u00fao feminista de performance christians\/\/schwenk junto a Isabel Schwenk (desde 2011). Estudi\u00f3 un BA en canto, m\u00fasica, performance y pr\u00e1cticas est\u00e9ticas en la Universidad de Hildesheim (c\u00e9lebre por su arte performativo) y obtuvo un m\u00e1ster internacional en coreograf\u00eda<\/strong> con Bojana Kunst<\/strong>.
Fue becaria de danceWEB (2018), as\u00ed como de las becas de residencia #takecare y #takeheart con Mousonturm Frankfurt. Marja forma parte de la compa\u00f1\u00eda de danza PULSO (Par\u00eds\/Marsella) de la core\u00f3grafa Roc\u00edo Berenguer (Teatros Canal), Investiga en pr\u00e1cticas rebeldes colectivas y espect\u00e1culos de danza en colaboraci\u00f3n internacional tambien fuera de las instituciones. Nueva colaboraci\u00f3n 2023: performance de danza LIKE A FISH OUT OF SALTY WATER con Golschan Ahmad Haschemi y la core\u00f3grafa Olivia Hyunsin Kim.
Marja desarrolla y facilita procesos de investigaci\u00f3n art\u00edstica<\/strong>, como en las ruinas capitalistas del Hotel Haludovo en el antiguo suelo socialista de la isla de Kirk en Croacia (en 2020 y 2021). Marja es una so\u00f1adora rebelde que saca la revoluci\u00f3n con erotismo y canto desde el ano, respira profundamente y vamos!<\/p>\n\n\n\n

http:\/\/juicyfrictions.com<\/a><\/strong><\/p>\n<\/div>\n\n\n\n

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\"Ass<\/figure>\n\n\n\n
\"Ass<\/figure>\n\n\n\n
\"Ass<\/figure>\n\n\n\n
\"Ass<\/figure>\n\n\n\n

Images from the presentation of Canto l\u00edrico desde el ano y otres Sirenes del O<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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The OdP 2024 artistic residency project receives support from Barcelona City Council.<\/figcaption><\/figure>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

_ Residencia 9 – 13 de sept 2024_ Canto l\u00edrico desde el ano y otres Sirenes del O – dom 15 sept Ass Opera_ Deseo transfeminista, er\u00f3tica queerfeminista es recuperando lo erotico suprimido como fuente considerada de poder e informaci\u00f3n dentro de vidas y la sexualidad queer. Lo erotico como poder (seg\u00fan Audre Lorde) reclama […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1844","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/1844","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/comments?post=1844"}],"version-history":[{"count":26,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/1844\/revisions"}],"predecessor-version":[{"id":3543,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/1844\/revisions\/3543"}],"wp:attachment":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/media?parent=1844"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}