Il mio percorso performativo e artistico è stato fortemente influenzato dall’incontro con altre culture e dalle collaborazioni museali. A quanto pare, nel secondo caso, la cosa è reciproca…
Grazie a M.C.De Palma, antropologa e direttrice del Castello d’Albertis Museo delle Culture del mondo che in un suo articolo finito in questa preziosa raccolta cita la nostra collaborazione così:
“For the MWC Genoa, establishing a dialogue with the objects’ special resonance has recently culminated in hosting the performances of Federica Loredan, a dancer/performer/musician, who in 2017 decided to embody the condition of migrants and refugees dancing with a costume that produces sounds like the African masquerade costumes or the Mamuthones from Sardinia. Under the title Sirene/Mermaids, using a highly iconic musical genre like hip hop arranged in a personal mix with African rhythms, the costume reveals what is invisible and gives voice to the condition of those who get stranded, running from one nation to the other: the costume, the body percussion technique and the instruments played become vehicles of stories and changes, enabling the violation of cultural and geographical boundaries. In Loredan’s piece the body becomes a powerful object, with its keys and charms resounding like chains, incorporating invisible and magical forces. The performer, spit out from the sea, engages in a transformation that can be compared with the process producing the museum object, hosting memories and knowledge, in a struggle for survival, searching for the key leading to a safe shelter. This work results into comparable cathartic experiences for the dancer, the visitors and above all for the migrants invited on these special occasions. It demonstrates how this kind of collaboration can make museums special places that contribute to the wellbeing of the public, distancing themselves more and more from the traditional stereotyped image of the museum of the past that relegated them into austere sites of silence, which generated fatigue and an inferiority complex (Golding and Modest 2013). “
