project image
Andrés Olvera

first performed on August 2, 2014
Foro Roma, Universidad de la Comunicación, Mexico City, Mexico
performed once in 2014


Mexico City, Mexico /


The intention of playing with the figure of Carmen Miranda—a cliché repeated ad nauseam and with which northern tropical Latin American world of sur imagine—arises from the twisting figure Divas to the becoming of a transvestite and bizarre character. Pinina Flandes plays “Carne y Parranda” (flesh and Clubbing) a kind of imitation or better, grinning, referred to the singer and dancer, but this time emphasizing the item and sissy transvestite. “Carne” (flesh), instead of “Carmen,” because Pinina fits most southern feelings; Latin American flesh is tender, very sensitive and is crossed by multiple stories to the rending of pleasure and pain, while released into the pathetic act of his condition. This is a conscious flesh that makes fun of his own suffering. Yecid Calderón or Pinina Flandes, brings to the stage the pathos of Latin flesh and sinks into that feeling without the shame of his drama.

With this Caribbean character from the Banana Republic of Colombia, I aim to demonstrate that the body of the fags in the South is a body marked by the pathos. The South always resembles mad passion, or living passionately. Yecid has a text that says: “We live the life carnesimente (crimson-ly)” referring to the intensity of crimson. The “sureados” bodies are flesh, raw and sentient. Not surprisingly, the folklore reminds us of the suffering these platitudes in Mexican rancheras, or in the Caribbean music: son, bolero, vallenato (last one the music most listened in Colombia). “Men, women and queers suffer several Latin American infatuation, love hard, we fell in love and enjoyed great happiness, though perishable and fragile. Then comes the disappointment, spite, the open wound of passionate heart.” Pinina says while fruits that have fallen, the head is retouched.

Therefore, the performance of “Carne y Parranda” starts with a passionate love song. And then, as a set of images of fags and transvestites from the South with the charm of their poverty and their bizarre beauty unfolds, this “Carne” tells of his love and failures. Educated by the culture of the soap opera, all altruistic love is a trick—it is just selfishness. After the faces and naked bodies of some of her lovers appear while the fag “Carne” narrates the excesses of his sufferings with each of them. This performance evokes love in the memory exhibited at the scene.