3Como Nossos Pais ANABELA VELOSO



The action consists in the performer dressed in a cocktail dress getting inside the cloak and singing twice the song “Como nossos pais” (As lived our parents) from the Brazilian composer and singer Belchior. At the first time the song is sung at the top of the lungs and at the second time in an audible pitch. In between the singing the performer stay on her knees inside the cloak.

This song was written in the dictatorial times in Brazil and it is full of metaphors about the fight of the youth against the censure and the oppression of the government. But mainly it talks about that no matter the efforts of the young, they always end up living as their parents lived.

The sculpture symbolizes the weight on the shoulders. The cloak has its ennoble characteristic and at the same time it carries an antagonist fragility from the plaster. The dress reinforces the fragility but through the appearance.

The performance is the complement to the sculpture that transforms it in an installation that holds and protects the body of the performer.

The performer is also displayed as an art object, a bibelot, an ornament that is part of the sculpture.

The artist Lilian Fontenla worked together with me on the first plaster performance “The fifth story”. She was the performer underneath the plaster and she was removed after two hours by the artist. In her statement she said that she felt protected and safe once inside the plaster sculpture.

Doing the performance “As lived our parents” the artist felt the same experience. Although it was open and exposed, not covered as in the series of performances “Resilience”, she felt embraced and protected by the structure.




2Como Nossos Pais ANABELA VELOSO