Areíto Yagua Ko is a project of my own and curated by Yina Jimenez Suriel.
When the call for the Ghetto Bienale arose, I was in Guadalupe enjoying a creation residence at the Acte Memorial Museum in Point a Pitre, a residence I won in the prestigious Eduardo León Jimenes art competition. I worked the project online with the help of my partner Sandro Ausina, who helps me with the production and keeps my agenda. When I received the news that I had been selected I was participating in the Tiltin Axis 5 where I coincided with Yina Jimenez, who had been my curator in the León Jimenes Center contest, and I proposed the curatorship of this performance.
Although this project stems from something very personal, from my Haitian experience from culture and heritage. Also understanding that a project like Areito of concept talks about sharing, ideas, visions, I want it to be a piece of dialogue, so integrate Yina's curatorial work, she contributed knowledge of architecture and philosophy, and we both join an interest and a need to get closer to our next cultures, to know Port-au-Prince.
Yina since joining the project began to contribute her opinions in the development of the piece, linking dialogues and expanding knowledge. One of the most important tasks for the execution of the piece was the location of the space where the action would be carried out and the subsequent installation. Yina was five days before I arrived in Port-au-Prince for the Ghetto Biennale and found me that space. I am satisfied with the curatorial work, I think it is important for the fluidity of the pieces.
For a few years I learned about the Ghetto Biennale through the networks and comments of other artists, and I knew that other Dominican artists had participated, Engel Leonardo and Ismael Ogando, colleagues who valued and respected their work. I informed myself, I read articles about the Ghetto Biennale and I liked that such a project was carried out in Haiti. I waited for Ayiti's inspiration to flourish in me, look at my origins, my mixes, my Haitian side.
Haiti is present in the Dominican imaginary as between a denial and a reality that is constantly evidenced, I want a transformation in my visions, I want to know Haitian Creole, study its culture and I think it is necessary. When I sent a project that talked about communion, announcing parties and claiming memory.
Areitos to evoke rites in pursuit of the environmental equilibrium, mutated in present dances such as that embodied in the posters, taken from the Gaga, a culture that I photographed in the bateyes of San Pedro de Macorix. The Areitos were an expression where the mythologies of the original peoples of the islands were told, they were parties and tributes of past events, now in our present, this Areito celebrates such a disruptive moment, as it was and in fact the Haitian revolution is .
Photos by Roberto N. Peyre