I was just wondering, Claudia you
mentioned that Christine and you were
collaborating on how to handle the Trayvon Martin material.
And I was wondering where the collaboration came in.
Was it by talking about what you were
going to do tonight or some future work?
Yes, it was.
We started talking about it a long time ago,
but there were a lot of ideas that were
brewing in our conversations.
And then we just kind of accidentally
stumbled into this common territory
and decided to work with it.
And I hadn't seen her piece until today.
But we were talking about it.
So, there was a lot of exchange and a lot of trying to--.
I felt like my role was to provide
a runway for Claudia's piece.
And to give it some kind of, like just
to prepare the audience in some way for it.
I don't think that's true because she hadn't
seen the piece until today.
So, the runway is not actually.
But I think that you were--
but I think that Christine was interested in the pieces
that she pulled forward had to do with Trayvon
Martin in that the world of the kind of political repression
got addressed in all of the sound pieces
that she brought forward.
And so in that way, I think we were thinking about what it
meant to be in Trayvon's body.
And so, you know, I think even though we weren't
looking at each other's pieces and remembering them,
when I finally sent the text to Christine
and then she sent me her text that she
began to fold in these moments that I
had culled from these black poets who I had spoken to.
And so that kind of became part of her,
in part in the way a sort of organic pulling together
the material that you did in the time that you've been here,
which is what I heard in your piece.
Thanks.
The pulling together, that's a beautiful thing.
In the Mapuche people of the South of Chile,
the indigenous people of the South of Chile.
And the kind of song that a woman that sings from hurt
is doing is called pulling.
And because when you sing in that form
and you do things that nobody cares for, you see,
I come here in veneration, in adoration of this desert that
is being destroyed.
I come here in veneration for the Yaqui culture,
for the ancient cultures of this place.
And it's poof, going, going, going, you know.
And so, how can I respond to that?
Add it by crying, crying in a tone nobody cares for.
Pulling tone.
Now do [INAUDIBLE] you think that when you pull things that
are worthless, that are nothing from nothing to nothing,
the ancestors come and all the forces come.
So this pulling together that you are doing,
it greatly freezes my blood.
It freezes it.
Because it changes it.
When you ask for us to close our eyes, I really did.
And I was feeling the rhythm of my blood change
by just the idea of going into an alleyway where you are
the dangerous one, you know.
When I remember, a Latin American friend
who was coming to New York, and he
had been told New York is very dangerous,
don't go into the subway.
So, the poor man was terrified.
And finally, he decided to go into the subway.
He enters into a car, not [INAUDIBLE] covered car.
[INAUDIBLE] the car.
He sits, and people immediately leave.
Of course he hadn't noticed that he was black.
So, it's who is scared of who, you know?
So, this pulling together is probably the one thing
that we can do.