”My body is my tool for crossing social boundaries. It is the memory of these borders and border crossings.”
Experiencing the possibility of transforming one’s body changes Jao Moon’s perspective on societal border regimes – he can break through them, overcome them, change them, or move them. In the style of Colombian champeta – the music of the periphery of Cartagena de Indias – working with one’s own body becomes a practice of resistance that is capable of challenging the prevailing social order.
In Memory of Dislocation, Jao Moon traverses spaces of social segregation in Colombia, spaces of heteronormativity, precarity, dance discipline, queerness, and Berlin club culture. The boundaries of social spaces become a physical challenge for Jao Moon, at the end of which stands the utopian question of whether his body can become the space in which all these boundaries dissolve.
