AMAMI

A journey in the rediscovery of gnosis(1): this is the path of AMAMI, a narrative that is composed of figures at once collective and unique, arising from the skin, a porous membrane in complete relationship between the inner and outer environment(2).

Organ and limit, identified as the threshold of a vital breath that passes through the body, in perpetual listening. As they touch each other, the four characters are animated by the tactile passage of being. They exchange and share it, like a unique source of life that manifesting in a capillary form.

It is like an identity, a universal one that is reflected in the continuous and circular movement of the forms, which draw a metamorphosis of self-knowing, recognition and sharing: "What is the self in relation to others?"

A still figure, positioned inside the cold room, bathed in empty light, moves his head slightly, looks at us. Close, we go too close, we are outside guests of an intimate epiphany. The sound, like slow wind blow breathing, hissing, suddenly becomes screeching, the crackling sound of fire. The dance begins, stuck in mechanical suffering, a body intent on breaking free. She seems to be reborn for the first time, shelling out piece by piece from the fatigue of coming into the world. And then the voice, the red thread that accompanies the viewer throughout the experience, in that primal effort that is vocalizing deprived of intention, but as song or lament. The bringing out, with a sound that starts from a deep part of the stomach, the throat, comes from within.

The mechanical rationality of arbitrary calculation finds no place within the intimate act of inquiring, of changing. Words are superfluous.

Through storytelling in syncopated rhythms, AMAMI, which literally means Love Me, speaks to us of the need to be recognized and understood, as a multifaceted being.

Caterina Danzico develops, through direction, the personification of four archetypes of four goddesses, inspired by Jean S Bolen's text "Goddesses in Everywomen."(3) The author, a Jungian analyst, recognizes seven different behavioural patterns attitudes in the characters of seven goddesses of Greek mythology.

The video, then, makes us active spectators of the struggle for recognition of the ego.

From the importance of a definition, to the liberation from any impositional structure: the self is never univocal, the vital metamorphosis that the body performs is to leave room for co-presence, allowing to be paradoxical and oxymoronic.

1.   Author Jean Bolen refers to Gnosis as intuitive knowledge, as opposed to Logos, which underlies rational knowledge. It is a deep, bodily connection; she discusses it in detail in "Close to the Bones"

2.   Rosie Broadhead dresses performers in fabrics born of a desire to care for the skin: like a caress, her clothes accompany bodies, without becoming constricting

3.   Jean Shinoda Bolen, Goddesses in Everywoman: Powerful Archetypes in Women's Lives, Harper Paperbacks, 2014