Gazes from the South: The Tchiloli and the Work of René Tavares
Ana Nolasco
all photos courtesy of the artist, except where otherwise notedIn a series drawings published in 2011 (Figs. 1–4), René Tavares expresses his experience Tchiloli, drama endemic to São Tomé and Príncipe which is intertwined with own artistic development. In this work, paintings exchange roles continued masquerade spread across blank white pages where, like erratic thoughts, gestures interrupt each other, wander digress into diluted stains colour.In one these images, we can see figure on left, possibly emperor Charlemagne,1 wearing crown red cloak, whose face blends dark stain background (Fig. 1). foreground, slightly right, stands count de Ganelon, empress's brother, heading somewhere right observer. Where should be, find lightly sketched mask, eyes are set point invisible us, beyond limits page, towards makes way. Despite dusky impression created by lines blotches, eccentricity scene striking. We distinguish different elements belonging distinct time periods: feathered crown, military insignia commendations, an obvious disguise modern sunglasses, fake beard African features. The whole permeated costumes that recall those worn royal courts Europe seventeenth eighteenth centuries.What meaning behind arrangement discrepant timelines? what way does incongruence represent “creative selection cultural struggle,” use terms chosen Michel-Rolph Trouillot (cited Crichlow Northover 2009: ix, xiv)? To further explore latent aspects gesture I will take as my starting two specific works dynamic appears me be most pronounced: Two Lives (2012), Cards Tchiloli (2014).São was colonized Portuguese from 1470, when they discovered uninhabited archipelago, up until its independence 1975. After local sugar cane production—introduced islands 1493—was outcompeted Brazilian exports century, subsisted mainly cacao production commercial hub for slave trade. From outset, labor ensured enslaved people various ethnicities brought Gulf Guinea, Gabon, Angola. This made communication difficult due lack common language. were usually kept away their compatriots preventing rebellious uprisings. led birth Creole archipelago's lingua franca.Part translocation metaphorical rite dead, part theatrical European heritage inspired Carolingian cycle adapted idiosyncrasies Príncipe, kind multimedia performance (Kalewska 2005), textual narrative, music, dance, acting medieval theater, characters, both male female, played actors.Tchiloli considered some “costume drama,” wardrobe essential element creation distancing effect, noted anthropologist Paulo Valverde (2000: 51) 5–6). Generally bringing together range elements—military uniforms, Napoleonic-era costumes, opulent seventeenth- eighteenth-century court clothes, contemporary trinkets—this creative costuming ruled, Valverde's words, logic bricolage … significant individual creativity permitted [leading combination of] or mirrored glasses colors, badge airline TAP, statue Virgin Mary balanced Marquis Mantua's hat, pistols more realistic than simple plastic replicas often seen during Carnival Dukes Aimão Beltrão, fan attached elaborate hat Captain Montalvão (Valverde 2000: 52–53).The mostly based religious play blind playwright Baltasar Dias, Tragedy Mantua, written 1540, has roots tradition. brief, tells story aspirations power emperor's brother-in-law stymied existence heir, legitimate son Charlemagne. Learning nephew's love Sybil, wife Valdevinos, nephew marquis Ganelon finds ideal opportunity frame murder. He proceeds convince only attain heart's desire. core takes place after murder deals marquis's struggle avenge Charlemagne's choice between fulfilment duty head state feelings son. end, sense patriotic conquers paternal instincts he condemns death.The history introduction controversial adds mysterious nature performance. While researchers, including Fernando Reis Françoise Gründ, trace back sixteenth it may have been archipelago master growers Madeira—a hypothesis generally accepted position—others, such Alves Pereira António Ambrósio, indicate Toméan elite—the so-called forros “sons earth,” descendants freedmen Europeans—as drama's likely importers (Seibert 2009). elite would come contact Baltasarian travels, form incorporated Romanceiro (1851) Almeida Garrett studies Europe.While explicitly political component carried traditional format, dramatic adaptation—its symbolic ritualistic character—has Africa, traditions peoples gathered islands. Thus influence “Djidiu,” bard-like storyteller caste professional actors then kingdom Mali “Mandigas,” dating twelfth century 74). complex game dance steps jerky movements follows monologue reminiscent motion statuettes puppets used rituals, curiously named Togolese thitchili spirits ancestors (Guillemin 2012, Zimmer 1996), guard frontier world living dead2—as, example initiation ceremony melan, practiced Beti, Cameroon (Thé 1985: 245–48). also danço congo, exorcism ritual forbidden colonizers (Gründ 1996: 170), life character Montauban3; black faces painted white, color “in-accessibles” spirits4 West countries Gabon; ritualized offering libations palm wine saints; musical instruments bombos, drums, especially bamboo flute pitus.Because any manifestation culture—such danço-congo, D'Jambi ritual, funeral rites—was among enslaved, whom forcibly baptised (Mata 1993), perpetuating prohibited practices context colonialism. manner, art resistance served therapeutic purpose 2005: 683). Indeed, Alvares notes, easy “find property owned parcel empire, parallel country, exploited humiliated—whereby election champion fight justice, expression desire build nation free colonial oppression“ (2008: 71).In gradually became bonds self-affirmation spanning generations. Here, understand “gesture” defined Vilém Flusser: means (2014: 253–54). Symbolic, am tempted add, Rancière saw it: “not figurative abstract thought, but isolated fragment bears potency whole” (2011: 98). Part hidden preservation country's 1975, present day through new forms epistemological decolonizsation. Today, no need subterfuge, give voice comments current realities abuses power. way, argue, longer working against colonialism growing trend homogenization accompanied age globalization.Within visual unites light, (b. 1983) framework contemporary, updating alliance cultures reflection artist's paradigm, sees Tchiloli. As artist points out, TchiloliA native possesses visceral link integral daily islanders: interview5 mentions that, child, believed characters visit him at night. It therefore natural leave mark later demonstrates underlying vein research purposefully open ended ever momentarily interrupted. investigation companion course stay Dakar, Senegal, even Rennes, France, completed studies, well throughout travels Africa. currently embarked project aiming update latest text serve basis performance, 1960s, order to, “invest strength.” work not always appear fashion, remains inherent impulse gesture, mind.In mapping explicit references Tavares's discern body them fragmented, multiple works. A queen example, next liberty Behind Mask Project (2011), Pitú player trying bring Valdevino's life, while Sukida vs. triptych Folklore Day (2011) 6), superimposes princess, suggestive Valdevinos Sybil—the wife—onto image Japanese motorcycle yellow striped could depict boxing ring.In Dança na Sanzala com Sobas Angola, Old Colony People (2012) 7), orange crimson colors clothing; cuts green central figure, appearing melt runoff liquid paint; sharply contoured figures emerging night Sanguês Branco same 8), regarded pictorial translations rhythms language.Tavares's drawing, photography, video, depending message seeks convey. However, methods adopts physical, intensity etched out paper canvas, weight levity, implication physical movement, performances Repúblika, asks passers-by permission picture holding sign “I Republic,” actually photographing who commit message, implying stances affirmation emancipation.In opinion, performativity work's unfinished indefinite presence transversal work. limited process itself, zigzagging intermittently rhythm hybridization times, places, materials flows indiscriminately supposedly watertight boundaries. practice thus continuous progress, just never fixed single expression. “through performative relevance movement—which incapable being completely reconstituted language story, ending which, although important, allusive” 11). definitive ending. Although, textually, ends execution Prince Dom Carloto, conclusion interpretations audience. For some, prince flees, others, high simulates execution—two many possible 26). very incompleteness indetermination transposition Tchiloli's another sense, movement that—like Tchiloli—must performed.In other attempt interstitial regions escaping classification coherent narrative systematize organic whole. 40 9) are, evident. first works, camouflaged suggests movements, gestures, fragments second, flagrant absence line separation metamorphosis occurs, presenting us images question notion essence, situated neither actor nor play, interchangeability section, analyze reflecting something must continually replayed, itself expression.40 1–4) exhibited 6th Biennale Art Culture 2011. consists A3-sized drawings, dominated interspersed monochromatic spots blue, green, red, occasionally purple. Here illustrates intertwining facts, histories, fiction deck cards, king represented historical figure. King Spades David Israel, Clubs Alexander Great, Diamonds Julius Caesar, Charlemagne role Hearts.On lower left side drawings—or drawn paintings—we small coffin carries mortal reduced size shoebox 3). staging forest, action revolves around little coffin, impact, serves highlight emperor—where wooden stakes covered fronds imperial palace—and low Mantua family, hut branches.As Perreira out,In reflects importance dead societies. evident before performances, summoned—especially previously Tchiloli—through offerings food drink, liquors, cigarettes. These offerings, festivities, ground appease spirits. Visits cemetery former group—or “Tragédia” (tragedy)—have laid rest (Loude 2007: 336). Many believe deceased members Tragédia actors—or figurantes, called—performs particularly because possessed—montado—by spirit person Valverde, fusion moralizing “the deceased, participate Batucada, signs subterranean appropriation cosmology“ 7, 10). tradition, borders death, internal external, porous, exceptional circumstances, host ”a plurality beings—the temporalities vague complexity“ 162).The significance expressed drawing 3) interplay light shadow: contrast smear underneath whiteness relative remaining green-shrouded forms, enhances lifts ground, giving floating air. reinterpretation focuses complicity corruption, power, betrayal possibility renewal triggers. charge death chief represents community” relates “societal renovation” 75) capable indirectly touching issues.In Portugal, concept “creolization” state's discourse colonialism, unlike term “miscegenation” (Almeida 2004: 3), Lusotropicalism theorized sociologist Gilberto Freyre (1930, 1940).Freyre asserted beginning nation's foundation, genetically inclined constitute multiracial society—an ethnic amalgam Arabs Jews. theory refuted Salazar, however, World War II, United Nations urged member states colonies. legitimize along terminology change colónias (“colonies”) Províncias do Ultramar. establishment democracy reformulated “meeting cultures” Corkill 2015: 164). Portugal's self-representation “pluricontinental pluriracial nation” 7) still allowed idea miscegenation onto other—as happened faraway colonies—thereby simultaneously ensuring continental remained closed. way,This model reproduced independence: Angolares—a south island according widely version events, descended Angolans shipwrecked coast6—are constructed “primitive,” purely “African,” perception rooted profession fishermen location inhabit, Europeanized defines (Feio 2008). “African ghost” 13), inherited intensified fact sea continent.In context, summoning ancestors, enchanting repetitive dominate comparison prose verse 683), emphasis blurs boundaries “civilized” African. Working original poetic creates “third space” (Hall 15), understood ensemble pure elements, interweaving reinterpreted, thereby recreating culture within domination conflict.In create analogy creolization play: Just there essence none creolization; relatable activities acquire social context. Creolization recombines ways, creating, combination, creolization, distinguishes ‘logic’ combination” 2003: 18). depends rules—which, past colonization, built tales violence exclusion—and chance, whereby paths individuals craft narratives weaving private subjectivities imagination, determined deducible rules.The overlapping expressive registers evokes textures, sometimes overlaying tenuous denser liquefied stains, transitioning sobriety vibrant ecstasy color. evoke haptic gaze, groping probing phenomenological surface opens materials' touch shared timeframe.As Laura Marks notes her Deleuzian distinction optical gaze tends move over object so much texture privileges material image. Drawing experience, primarily kinesthetic“ 162–63). inhabited awakens observer's imagination desire, spectator fuse (Marks 183).According Johannes Fabian, primacy perception, “cultural, ideological bias vision ‘noblest sense’” (2002: 247)—correlated, anthropology, method observation—that principal cause negation cotemporality widening gap dichotomies, projects conception linear time. hegemonic touches object, effectively it. contrast, stimulated agrees abandon anticipation formulas dominion destined avoid fall chaos derive it, taking pleasure discovery deficiencies ever-elusive other.As Michaeline Patricia (2009) note interpretation Glissant's thinking, despite creole societies subjected colonization had socioeconomic conjuncture conditioned define them. Both consider important remember account connects slavery forced migration, productive focus how recreate, space interrelation global processes.Within certain imposed structure situation constantly reinvented: Each approximately ten groups—or Tragédias—in 681). ignorance inhabitants share allows reinvent reality truth lie, alternative. Like game, tangible, fixed, predefined, immaterial subject change, existing moment enactment. blend themselves perfectly start prime ministers queens, characters—emperors, princesses, Ganelons, Sybils—wander streets slow hours.In metaphor read relationship, since exists connection players correspond object. relies joint attendance players, negotiation involved, linearity allowing unforeseen. According Wittgenstein (1994), product language, infinite variations. know world: One reference outside platonic founding origin.By choosing places field chance meets rules, encounter different. rules conditions unpredictability associated creativity. Western epistemologies, founded dichotomies ill suited dealing complexity, articulated provides subtle criticism runs deeper reductive division “good” “bad,” “truth” “lie.” Rather, destabilizes reveals arbitrariness emphasized game.The composed nine double portraits distributed three columns. two-thirds portraits, nearly facing camera, turned. neutral—usually depicted casual, civilian dress; grey dressed photographs, posed two-thirds, resemble studio-made passport photos. difference—the avoidance intrusive close-up—does allow voyeuristic imprisons objectification photo. doublets, lead identification casually costume individual. ambiguity descriptive style reflect fugacity, intermediacy, placing irreconcilable side, breaking time.In “traditional cosmology,” strictly unitary name given baptism known, house name, nome da casa. person's known people, vulnerable person, dangerous spells 152). situations, beings, sessions,7 possessed (montados) sex, age, period. potential repository collective memories, “home” Similarly, phenomenon possession dissolves present, replacing confluence plural duration meaning.” 171).In cosmology, interpreted figurantes term, namely external actor's identity “put on” “taken off” will. penetrate passed down generation lifelong commitments, recently, handed family. real unreal become blurred, hierarchies maintained day-to-day situations.8 During festive periods performed, masks removed dusk, sunset.In seminal Time Other (1983), Fabian how, following abandonment ev
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