Monstrous, or the Miscegenation Advantage, an important piece in undercurrents 2016
The lights bathe a vast, empty stage. A massive projection screen is mounted along the back. Performer Sarah Waisvisz enters the stage from the audience, singing along with French singer Chantal Goya’s “Adieu les jolis foulards”, a version of the Martinique folk song, “Adieu foulard, adieu madras”. Waisvisz evokes a sense of nostalgia and longing, singing the song out to the audience with open arms. It isn’t until later that the audience will learn the full impact of this saccharine anthem.
Monstrous, or the Miscegenation Advantage is in part theatre, in part dance, and in part social provocation from Calalou Productions. It’s a true piece of auto-ethnography, inspired by the artist’s own Ph.D. level research into colonial interference in Caribbean literature. The script finds its footing in creator and performer Sarah Waisvisz’s own story. It is in part Sarah’s personal history as a multi-racial woman who traces her heritage back to the slave coast of West Africa. Here, dance plays a large role as Sarah embodies dance styles that reflect that history. Yet, the script also sets its sights on Sarah’s modern-day, lived experience as someone whose skin colour has been an unavoidable topic of discussion since birth. Waisvisz moves with intention and fluidity on the stage, though sometimes under-vocalizes her lines. Overall, she is dynamic and even a little mischievous. …