Women’s resistance with cooking pots and more

Women’s resistance

For piano and cooking pots

(With musical revolutions that have expanded the range of the imaginable)

By Maria-Paz Santibanez, pianist.

Women’s resistance is a project to create works born out of resistance and out of respect for human rights and the dignity of people.

At the core of the project are works that include performative scenic elements with the potential of being displayed in concert. Glyslein Lefever will take the direction of performative concerts. The projection of images is an integral part of the projet in concert, it’s in charge of visuel and audiovisual artist Lorena Zilleruelo.

María-Paz Santibanez, a Chilean pianist living in Paris, is a interpreter who brings together in this project the paths of her life and career: she is a woman, she defends contemporary creation and throughout her life has engaged in the defence and promotion of human rights.

This project brings together works by composers (women and men) who offered their works out of commitment and respect for people’s rights. First inspirations where done by Chilean people in demonstrations with pots. This project was completed in the times of COVID, when in so many countries culture was discarded as « essential » and when the whole world saw the inequities and precariousness in which we all live.

To resist is the job of artists : we live and create from the places of the « non-essential » according to the values of the neoliberal societies.It was also for Beethoven, to name only one of those who resonates the most when we speak of revolutions from musicians and from music. And it was and it is for to many women who are in creative work, all of then non considered and invisibilizated.

In times of COVID, little by little reopening the halls, theatres, and ears, creating, believing… is making creation and resistance resonate.

Creations in Women’s Resistance

The first work in this project is the suite “Impact (your eyes, your rights)” for piano and pots, commissioned by the pianist Maria-Paz Santibanez, with a first pre-premiere in Paris at the Chatelet Theatre. This work was originally dedicated to the mutilated eyes of Chile since the revolt began at the end of 2019. The uprising has continued, the COVID pandemic has exposed precariousness and today this suite is dedicated to the revolt that in many latitudes is manifesting against inequality, against oppression, and to promote respect for human rights. The tour planned around this suite – which put Chile and its revolt at the end of 2019 at the centre- was postponed due to the pandemic, and the countries that today rebel are more numerous and daring. It is therefore relevant and necessary to include all those who seek to raise their voices and take to the streets to defend human rights and the dignity of individuals and peoples.

Currently the work is composed of 6 parts out of 11. The suite is organised around premieres according to the dates on which it is scheduled and does not need to be finished; each composer will join according to their availability and will make the work and the resistance grow.

The second work of the project was also commissioned by María-Paz Santibanez. «The rapist is … you are … you were …”, by Valeria Valle. (More about Valeria here). This work invites performance on stage, in defence of women’s rights and against institutional patriarchy. At the boiling point of the Chilean protest at the end of 2019, the complaint against the institutional patriarchy was born. The work of the collective “Las Tesis”, also Chilean, went viral making a worldwide echo of the performance ”Un violador en tu camino”.

Performance? Images?

This is a concert’s project that can be performative. However, each work is sustained by the music, so the production of an album is also encompassed, particularly dedicated to works for piano and pots and works on the theme of women’s rights and / or female authors.

In the case of “Impacto”, the installation of a saucepan on the strings, the intervention with spoons on the piano strings, the use of the pots as drums next to the piano, the entrance on stage by hitting the pan, the works played with a patched eye, the counterpoint made by the pianist between piano, pots, and declamation of testimonies of victims or of Mapuche poetry (native people of the south of the world) or the spatial intervention of electronics – and many other works being currently composed – make each moment of the work a performative moment in itself.

Regarding the work in progress of writing “The rapist is … you are … you were …” the invitation of the composer is to make a specific address to the performance of Las Tesis “El violador eres tu”, vocally and / or on stage in concert . This performatic possibility will be integrated into the work, in its final part.

A women’s Resistance concert includes projection of images (See here inspiring playlist) integrating music, image, performance.

Concert formats

One part of the program will propose a resistant and contemporary repertoire, and the other will include « traditional » pianism that evokes revolt or revolution and imaginative evocations with a repertoire of the pianist’s preference. Another part will present the creation of female composers who, because they are women, were until very recently in the background: After #MeToo and « El violador eres tu » from Las Tesis, women composers are increasingly more visible. In this project we will show this phenomenon, enhancing it thanks to the gathering of musicians around the project of the resistant career of the pianist and creator who summons it.

A debate around the concert, between academics, creators, and local actors from the area of ​​culture, “music and resistance” – or a similar one – will always be welcome, according to relevance.