De tu Puño y Letra
On November 25, 2015 – the International Day for the Elimination of Violence Against Women – the City of Quito, Ecuador presented the culminating performance of Suzanne Lacy’s most recent project—built on the aesthetics of relationship, activism, and social transformation—that contributed to a broad social movement in Ecuador.
Hundreds Involved in Planning
In Ecuador, an estimated 6 of every 10 women are victims of violence and only 10% of women escape violent partners. When Lacy arrived in Quito in 2014 she was introduced to the 2012 Cartas de Mujeres project, where 10,000 Ecuadorian women wrote letters on their experiences of violence. She saw the letters as an unanswered plea for action.
Mindful of the importance of supporting and building on the many public education initiatives in Ecuador, Lacy offered to centrally feature the letters in a new production. She brought together city government departments, non-governmental agencies, art organizations and educational institutions to work together in the design and production of the project.
Scores of men attended deeply impactful workshops on masculinities and violence--a curriculum designed by Timm Kroeger of GIZ, an NGO specializing in education on family violence. Each man “adopted” a letter from an unknown woman--an invitation to interrogate his understandings of family violence and through the vehicle of the performance, engage in the public conversation. After months of preparation, including the development of on-going curriculum on family violence in the Universidad de Las Américas (UDLA) Medical School, rehearsals began.
Collaborating Within and Outside of the Artist Community
Lacy’s work is based in a unique highly collaborative design process that engages scores of participants--drawn from a careful analysis of the local environment--in “what if?” sessions. Over time, people offer different talents and concepts to the evolving performance design, ensuring a carefully vetted and deeply participatory event. Many took on roles as advisors, producers, recruiters, and stage managers, among them writer Gabriela Ponce who drafted a script from 1,000 original letters; composer Bruno Louchouarn who produced a stunning score with live and recorded sound; and filmmaker Oderay Game who produced the performance. (see below for more extensive credits?)
Performance as a Model for an Inclusive Public Conversation
De tu Puño y Letra (By Your Own Hand) explored the difficulties of including men more centrally in this issue. Many men felt that it was not their “issue”; some women were offended by the focus on men; politicians were nervous; and even animal rights activists questioned the use of a bullring as a site for a symbolic public stand in a violence-promoting masculine culture.
Accompanied by the City Band, over 1500 people entered the Plaza Belmonte, greeted by Mediators who served key roles in bringing the audience into the conversational nature of the event. The first three “acts” within the bullring featured a relentless narrative drawn from the authentic voices of Ecuadorian women as read by men—on childhood, the body, and intimate partner violence. The ring slowly filled with hundreds of men of all ages and from all walks of life (including many police officers), who together read individual letters, creating a crescendo of sound, broken by an abrupt silence. The voice of elderly white-haired women amidst 300 men, asked “Why do you call this love?”
Surprise interventions from live musicians built throughout until the 4th act, Separating, when readers explored what it took for these real women to escape while performers left the bullring and reappeared among the audience. The last act took place in the audience, where 300 men huddled over candles to read “their” letters to intimate groups of two or three people at a time, the ensuing conversation becoming the final gesture in the performance involving Mediators, Letter Readers and audience members alike one collaborators hoped to encourage long after the project concluded.
This project constituted a form of Social, Public, Practice Art that combines various expressive media and artistic explorations with concrete actions; that engages with broad partnerships inside and outside the arts; and one that addresses substantial matters of public importance as defined through a participatory methodology. Surely one of the most important, and visible global issues of our times is that of violence against women and children.
“Rarely does an art performance have a genuinely transformative effect. However, the planning and involvement of so many partners ensured maximum interest and participation, while the attendance of many city officials, including the mayor and his wife along with members of the press, ensured that the work instigated by Lacy and created in collaboration with a team of dozens of people, would continue to have resonance and impact long after the performance was finished.” Elizabeth Grady
María Fernanda Cartagena, Curator
Oderay Game, Producer
Gabriela Ponce, Scriptwriter
Bruno Louchouarn, Sound Design
Mónica Moreira, Chief Recruitment team
Chía Patiño, Stage Director
Timm Kroeger (Cooperación Alemana GIZ), Workshop Design
Alex Schlenker, Azucena Sono (Instituto de la Ciudad), Creative consultation
Sofía Coloma, Chief Production Team
Arturo Yépez y Raúl Teba, Directors Assistants
Daniel Andrade, Light and DP
Felipe Aizaga, Grecia Albán, Milton Castañeda, Mariela Espinoza de los Monteros,
Emile Plonsky, Mónica Moreira, Musicians
Javier Andrade, Director AV Documentation
Christoph Hirtz, Director Photographic Team
Francois “Coco” Laso, Director Video, A Blade of Grass
Alegría Mateljan, María José Salazar and Yauri Muenala Coordinators
Colectivo 3+1: Alejandra Pinto, Esteban Calderón, Karina Fernández y Natalia Dueñas with the support of Canela Samaniego and Andrés Miño
Gina Manrique and Freddy Cevallos, Logistics and Production Assitants
Juan Esteban Suárez, Logo Design (Agencia de Diseño USFQ)
Mateo García Game, Mediators coordination
Special thanks to
Maria Fernanda Pacheco, Presidenta Patronato, Mauricio Rodas Espinel, Alcalde de Quito, Pablo Corral Vega, Secretario de Cultura, Paulina León, Coordinacion Centro de Arte Contemporaneo, Viviana Maldonado, Cooperacion Alemana GIZ, Julio Echeverría, Instituto de la Cuidad, Jorge and Stephanie Gabela, UDLA School of Medicine and Global Health and Bettina Korek.
Project support is provided by Municipality of Quito, US Embassy in Ecuador, the German Society for International Cooperation(GIZ), Diners Club, The Creative Artists Residency at Bellagio, A Blade of Grass Fellowship for Socially Engaged Art, Creative Time’s Global Residency Program funded by the Robert Sterling Clark Foundation, Universidad de las Américas (UDLA), University of San Francisco de Quito, Teleamazonas, Urbano, and ForYourArt.
Photographs featured by Christoph Hirtz.