Un instrumento efímero en busca de la eternidad, danza con el tiempo, un suspiro que se va.
El violín en el viento no cesa de cantar, cuerdas que en el aire parecen dialogar. Cada nota es un susurro, cada arco, un palpitar, melodía que viaja sin saber su final. Se pierde en el viento, mas no su sentir, como un eco eterno que se niega a partir.
“Madam Satan” film photograph featuring Theodore Kosloff as “Electricity”, 1930. | src Special Collections Research Center, George Mason University Libraries C0468
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“Madam Satan” film photograph featuring Theodore Kosloff as “Electricity” and a group of dancers dressed as turbines or generators for the ballet sequence entitled Ballet Mechanique. | src George Mason University Libraries
Santa Cruz understood the importance of being able to see oneself in their culture and the value of identity. Through her work, she was not only able to disavow the way that Blackness was seen, but she redefined Blackness. She refused to accept the position that Peru and the broader American society continuously forced Black individuals into and, by writing and producing plays, allowed others to reject those roles. [x]