The Fifteen Eyes of Axomamma [I Shall Become A Perfect Dead Woman] is a passage that resides between moments of improvisation and composition while exploring the unification of the masculine and feminine essence through a matrilineal becoming. The five male identified artists, invited by Nissa Nishikawa, had one day prior to the performance to share narratives of their great-grandmothers and desires of physical expression. Gestures that expressed the essence of their maternal lineages were drawn into a choreographed line during this collective conversation with an urgency to form and deform. The essence of collectivity was fundamental- how the symbiosis of individual perspectives can generate new approaches to the current conditions of ecological and societal marginalisation by the sharing of myths. The attention raised to the Incan potato deity (Axomamma) was a means to converse with the Jersey earth while addressing the origin of the emblematic nightshade and the destructive monocultural system the island has fixed. The set and costumes were constructed from local materials (soil, potatoes, hessian and wood charred in the Japanese technique of Shou Sugi Ban) in order to heighten our relations with the ecological environment on the island of Jersey.
The Fifteen Eyes of Axomamma explores the immediacy of imagination and becoming one with environment as an empathetic relation, or as antidote to ‘othering’. It is a play which allowed the authentic self to emerge through a visceral dance practice while residing in the realm of an early form of theatre, when this art pillared ceremonial dance, song and sculpture.
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