She entered the room, walked over the white floor, sat down and looked at the audience. So as a given circumstance, the air began escaping from her body and it never stopped. In fast air pulses she emptied herself, coming in a state that did not ask for control. Air was escaping from her along with it, escaping from her movements, sounds, emotions and sensations.
The artist guided and was guided by pulses of air starting from her breath. All her body was pulsing until the end of the performance. The movement was not produced by the body or by the breath, but the movement was constructing a body. It was not possible to say if the breath generated movement or the movement generated the breathing, it was a body transforming, updating, happening.
She was wearing modern clothing, but there were drawings escaping from under the edges of her clothes, which referred to a distant and primitive past. There were lines in black ink painted on her body, arms, hands and chest. Not only these drawings, but her movements also suggested something rudimentary, restricted to a primitive condition of the human body. Movements started to emerge from her body, babbling states, sensations and emotions. Tirelessly transforming herself, she seemed available without being afraid or ashamed of being vulnerable.
It was a body that didn’t fit itself, needed to get out of itself and, in the tumult of its changes, escaped into air, sound and movement. It was a disturbed and disturbing body. The performer was able to embody the physical and mental agitation, in states fed by the breathing. States that reverberated in progressive movements and also the opposite, movements that reverberated in progressive states. This process it was not an acceleration, but more something of a body in transformation, a mutation of body conditions that occurred in pulse and unpredictability.
This unpredictable pulse generated some confusion in the body of the performer, vibrating sounds and pulsing movements. But even disoriented, paradoxically, was a body of amplified perception and vibration. The performer was guided in the space by her body porosity and pulsation. Sensitivity escaped and expelled from her body.
It was possible to follow the changes of the body, even the slight differences in the wrists. The body of the performer in action generated a synaesthetic experience, a contagious pulse. My body vibrated with hers and, after taking a quick glance at the rest of the audience, I realized that it was not just mine. Other looks and bodies were picked up by the becoming of her “changing-body”; from them also escaped a vibration.
The voice blew from her as a member of her body in motion. She seemed to be aware of the fact that her voice was a space coming from the body, in vibrant and resonant amplification. The body was like the bellows of an accordion, expelling air, sound and movement. The microphones amplified that “bodysound” in echoes and vibrations. Also the “bodysound” painted the space with light colors. Vibrating together, sound, state and movement blurred the black lines painted on the artist body.
After all this, she, Michelle Moura, danced… no, I must say, she was dance, and I could watched this last dance much longer than it was. A dance that comes from the fact of a tirelessly changing body and its states. She was dance in its mutation and escape.