In Tracing a Memory Pt. III, the performer Quinsy Gario takes the audience on a journey: it goes to Sint Maarten (St. Martin). In 2019 he met his mother Glenda Martinus here. They had lived here before, until 2002. Meanwhile, Quinsy Gario had emerged in the Netherlands as a poet, visual artist and performer, particularly with his work Zwarte Piet Is Racisme. Now he was back - and with it the memory. Which memory?
The southern part of Sint Maarten belongs to the Netherlands, the northern part is a French overseas department. Whose story is remembered?
With Tracing a Memory Pt. III, Quinsy Gario takes the audience into the heart of the historical battle for images and narratives. In a meandering manner, he talks about documents, images and his own memories, about colonialist narratives and resistant actions. And along the way, he reflects on image capture technologies as tools of liberation, thinks about play and unproductivity as techniques of refusing colonial norms - and about the experience of traveling together.
After his appearance at the International Performance Festival Permanente Beunfühlung, his lecture When artists refuse, the premiere of GUTS: Glenda's Unique Travel Stories in cooperation with Family Connection, this is now his first solo work at the Ballhaus Naunynstraße.
As part of the BLACK BERLIN BLACK – UNITED POLYPHONIC festival
Dramaturgical advice: Jörgen Gario, Glenda Martinus, Rudsel Martinus
Stage design: Quinsy Gario
Festival assistant: Julien Enzanza
Production management: Leonard Beck
A production by Kultursprünge im Ballhaus Naunynstraße gemeinnützige GmbH, funded by the State of Berlin and the Senate Department for Culture and Social Cohesion, as part of the festival Black Berlin Black – United Polyphonic.