Performance at ‘Environmental Dialog’ | Naples, Italy
Looking back onâ California College of the Arts Summer Abroad: Italyâ, and our collaborative project  âEnvironmental Dialogâ with âCittĂ della Scienzaâ in Naples, Italy.
You know there are a hundred ways to revisit an extinguished thing. We did it like this: from Northern to Southern Italy. In two weeks we traveled to three major cities: Venice, Milan, Naples. With our instructor, Mariella Poli, at the head of the operation racing us across the country. Everything was new, and I wanted to touch it and feel it and bring it all back with me to California - my photographs didnât do it justice. The history of the country was fascinating, and was apparent in the structures of the homes and churches and cobblestone pathways. The art was new and exciting and waiting around every corner. The awe that weighed my shoulders seemed greater than my fifty pounds of luggage, but it was an uplifting kind of weight. We adventured from the Guggenheim to the Venice Biennale to the Milan Global Expo, all in one short week. And then, finally, we settled for our last week in the welcome arms of Naples.
The Spring before we set off to Italy, our teacher Mariella said to us, âOn this trip we will see the worst of each other and we will see the best of each other.â I remembered this often when I was tired and my feet didnât want to venture another step. I remembered this when our group got cranky and exhausted of the never-ending alleyways and relentlessly humid June at the end of a long day. We indeed did see the best and worst of each other. But it wasnât until we arrived in Naples and met with âCittĂ della Scienzaâ that I really saw the best in me. It was all building up to Napoli. Here we met up with the people working at âCittĂ della Scienzaâ (City of Science), who had been victims of arson two years prior. âCittĂ della Scienzaâ sits on the ground of a former large industrial complex, which is being reconverted to other uses, in particular to scientific research and museums. In the spring of 2013 the interactive science museum, similar to San Franciscoâs Exploratorium, was intentionally burned to the ground. We went to Napoli to work on a project intended as a response to the destructive action of the arson, collaborating with a group of students from UniversitĂ di Napoli 2.
Bricks remain under smoke, waiting patiently for recognition. The structure blackens and holds its breath. âWhen the fire happened, it was very emotional for the people of Napoli,â Ruwani Perera, a local Neapolitan and a member of our ensemble, said to me. I was moved to see how important this place of education and creativity was to the people of Naples. It was a fire that only strengthened the community, uniting them to find ways to bring back what they held so dearly despite the loss they suffered.
Our body of work was part sculpture, part film, and part performance. I joined the performance group. On our first day we met with Fabio Cocifoglia, a director of the Naples theatre group âLe Nuvoleâ. In mere few days Fabio created an ensemble out of us. We focused on the ways immigration and femininity affected our lives. I didnât really get to know whom I would be working with until Fabio dragged us all onto the stage. It didnât feel like working. We were all laughing and dancing and playing games, but this was how Fabio broke down the discomfort of our language barriers and opened up discussion for the serious issues our performance would be dealing with.
We were an all female cast, and we were all first or second-generation immigrants. My mother was born in Portugal. The rest of the ensemble was from China, Indonesia, Sri Lanka, Capo Verde, Lebanon, and other places around the world. All of us coming together in one room to share our stories was just short of miraculous. I performed a poem my avĂł (grandmother) wrote when she first arrived in America from Portugal with my grandfather and their six children. I recited in English, while Andreina Lopes Pinto, a member of the ensemble from Capo Verde, recited it in Portuguese. I was not new to the world of theater, but I had never had to perform something so personal. In translating and rehearsing the words of my avĂł I found a new appreciation for what my family had gone through to bring me where I am.
On the night of June 18th we held our performance in the garden of 'CittĂ Della Scienza'. We all had performance jitters, wandering around fixing last minute touches to our hair and makeup and stage props. But as soon as the audience started trickling into the garden we all fell naturally right into our places - the show had begun. The words of my avĂł flowed through me, with Andreina by my side reciting in Portuguese; we became sort of call and response vessels for the poem to pass through. One short hour later we joined our film and sculpture team, exhilarated at what meaningful work we had produced in so little time - and for myself, the lasting relationships I had made with the people of Napoli.
The interaction with the work began with scratching off the ink that completely covered the surface of a 2' x 12' panel mounted on a wall. As one brave participant started to scratch off the surface, many others joined in and quickly scratched off the rest of the panel. The process slowly revealed hidden messages and graffiti under the ink, while at the same time leaving creative traces of images as the participants scratched off bits of ink from the surface.
   
I would call
Artists and students at âMission Voices Summer' program explored together their meanings, from the most literal to their broad connotations. Starting on day one, with a physical line getting from point A, here, to point B, there, the young artists were inspired to create. The final exhibition showcases films recounting time and motion, directing plaster hands and fingers, zines (collaboratively constructed over the duration of the program), and much more. I was delighted to find out that being an intern in the art world means much more than administrative duties. I was often out with the students and the teachers. I participated in bringing the vision of (T)HERE to life on a daily basis. This was as simple as partaking in the ice breaker or making a piece of the here to there segment, but all the time I felt like being part of much larger idea. 
   Even promotional social media posts enlisted creative initiative. The most invaluable experience I had was the interaction with each gifted mind. Whether they were staff, professional, or aspiring artist, they were all truly artists. A simple conversation, however unrelated to the current project, always struck creativity and provoked thought. 
The six teaching artists were navigational wizards throughout the project. They prompted and probed but never told. Workshops, activities, and even technical instruction were all centered around opening more doors as opposed to answering questions to close them. A socially and personally relevant project was formed from a compilation of the youth voices, its originality unobstructed and limitless. As opposed to daunting and overwhelming, the young artists approached the project as magnificent and challenging unchartered territory. On the outside they are kids, some only a few years younger than myself, but their minds are so unafraid and inventive. Their passion inspired me more than I can put into words. The mark of any active participant is that they come away from an experience with new knowledge, but my entire approach to art and creative thinking has been altered. 
To fully understand my awe at the art world one would have to know my academic past. Not only was I a biology major, but I am going into my second year of teaching middle and high school math. While I do still love these fields, my creative mind is often neglected. Entering this entirely new world this Summer revealed possibilities and passion within me. I went from skeptical to inspired in a matter of months, and I am only starting to uncover the mystery of how I got from there to here.
 
