2023-11-19 23:38:56
Some panties dominate the stage. The warm ones, the ones that cover, the ones that protect. Of the comfortable ones. Perhaps – depending on who looks – not the sexiest, but the ones that fulfill their function the most and best: protect, care, shelter. They are lying on a rope, clearly visible, while the other protagonist of the show raps: “Let them not be silent, let them stay alive, the testimonies of the grandmothers.”
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It is Bewis de la Rosa who sings, before a packed room, who sings, who jumps, who toasts, who feels powerful, who shares, who imagines and who feels, from the heart and the viscera, that there are few things more collective and generous than a concert. And that letting go of yourself to experience it is a gift, shared, to enjoy dancing, sweating, smiling and loving.
These are the performances of the musical project of the interdisciplinary artist Beatriz del Monte, with which after touring festivals such as the Boina Fest in Arenillas (Soria) and the Son Raíz in Córdoba; and venues such as the Capitol in Santiago de Compostela or Rucula Feminista in Asturias, she will continue touring Spain, with stops in Albacete and L’Hospitalet de Llobregat (Barcelona). There she will go to empty and fill herself in equal parts, jug in hand, in recitals that include congas and raffles. To turn each room into town squares in which there are not even doors that are left open. They are not necessary. Her spectacle is as much hers as it is yours, yours. Free.
Love more than ever is the title of their first album. An album that embraces, claims and stirs. But not to regurgitate, but to connect with an interior that we do not always take care of or take into account. To enjoy, better, in plural, the roots, the land, the music, the life. Bewis de la Rosa puts together his proposal with a speech structured by feminism, mental health and a lot of love, which he defines as a decision. The singer claims the ability to transform, together, everything. She invites you to do it without shame, fear or doubts.
“When has the power to trust in our power been taken away from us?” she asks this newspaper, sitting in a room where Pedro Sánchez can be seen, on television, appearing at a press conference. “We believe that the person who is speaking there has more power than us and that is heavy,” she points out, pointing to the screen.
“It would be good for us to have more love than ever, and above all, better than ever. Rethinking our view from where we live makes us rethink how we love and not only our relationships understood as romantic or loving; but how we love the person in front of us. There is a crisis in the value system, which largely comes from the environment in which we operate. If we transform the environment, we would transform the consumer view we have regarding love. There are many ways to build society that are not this,” he adds. And he does it calmly, just like when he goes on stage. Bewis de la Rosa is very vindictive, but not out of anger.
If we transform the environment, we would transform the consumer view we have regarding love. There are many ways to build society that are not this
Bewis de la Rosa
“Angry does not transform, it only generates more anger,” he maintains. The singer and dancer is a faithful defender that everything starts from attacking the subsoil of conflicts. Surfaces can give a warning, but they don’t have to teach anything.
“If you try to guide a person who goes to therapy every day so that they can go to work by taking a pill every morning, are you solving the problem? You can try to sell it all you want, but as soon as you think about it, you realize it’s not real. What remains for us is to generate close networks that support you. People who are in critical thinking and who are not in struggle. You don’t have to be in struggle to have critical thinking. He is not going to violate me because I have the power to create another reality. When you realize that, that’s when you take action,” she says. And in between, “accept that frustration is part of the process.”
Add instead of divide
Bewis de la Rosa mixes songs, rehearsals, video clips and concerts in which dance, music and performance intertwine. “That it is so multifaceted is more natural than we think. It seems that we have to be one thing and there are conflicts that should not be because human beings, by nature, do many things. In fact, a sovereign has to do them to survive. Why have we divided knowledge so much instead of making people competent in many areas? ”He asks.
The singer explains that the project was born from a “need to trick the ego.” “I create another room within my home. I can develop from something more core, but everything that I cannot get rid of or dismember is also there,” she describes.
Empty eyes that judge
Bewis de la Rosa uses rural rap as a way to position himself in the world and analyze depopulation from a critical prism. “Spain is not empty. Empty are the eyes that look at that Spain,” he says about how the exodus of the sixties and seventies caused the entire world to industrialize “yes or yes.”
The singer does not want to “romanticize” the way of life that existed then, because she recognizes that she was “slaves of many things.” But she does emphasize that she, in turn: “It made us free from many of the normative things that exist now. There are many impediments to having an autonomous life. I’m talking about the garden, about having your own environment, your own ecosystem and sharing it as a community.”
The singer recognizes and regrets that, sometimes, even from the world of music and art they believe that they have to “get there to put something.” “We have this view of moral supremacy of feeling that you are the one that comes from knowing what culture is. And no, the culture of a town is the culture of that town,” she considers. Towns that serve to praise the “depth” and “rootedness” of the rural environment.
The artist laments the way in which “tradition has been skewed solely by religion.” “By hosting it from there, we have been left without tradition and without spirituality. And then where are we? In the shit. Because without a tradition that roots you and a spirituality, how are you in the world? ”She questions. And she adds a note about religion: “What they do is dogmatize and not give people access to do something of their own, but to do something that is learned.”
The transformation that Bewis de la Rosa defends involves bursting the superficiality that has found its best allies in social networks, and which has the consequence of generating “positionings” that are also such. Contrary to what seems to prevail, the artist values that “there are things that make you much calmer when you delve into them and go through them.” Starting with oneself.
“We are constantly setting targets to throw our darts at, which are our own wounds. Look at yourself and your darts and, before pointing at the other, see that there are three fingers that are pointing at you. Maybe I’m deluded but I think we are over-informed about shit, headlines, beliefs and criticisms that lack value. And that the essential, the pure, transcends all of this,” she comments.
Pot, jug, apron, panties
The careful and thoughtful aesthetics of Bewis de la Rosa also permeate the imagery of his video clips, where he tries to “change rap clichés for rural clichés like being in a parking with a tractor, and instead of a bat there is a giant spoon.” A spoon that, together with the apron she wears at her concerts, exemplifies her own symbolism. “They allude to the kitchen. When you go to eat at your mother’s or grandmother’s house, or with your friends, who prepare food for you or you prepare it, these are acts where love is exchanged,” she describes. The after-meals fulfill their own function, because of how “they normally generate very transcendental conversations, or telling intimacies, around the stew.”
The other protagonists, the panties, appear on the scene to break with the habit of “hanging them behind the sheets, the T-shirts, everything. The artistic is a healing channel that allows us to bring out everything that has not been brought out.” “If I had to have a flag it would be my grandmother’s panties. That’s why I take this something old to give it the reading we need now. There is that belief system of proverbs, which here said that dirty linen is washed at home and that even if the house burns down, the smoke will never go out onto the street. Instead of covering it up, let’s see what happens if we uncover it,” she explains.
These panties connect with advertising images that can be seen presiding over street marquees, in which lingerie must be sexy, but perhaps not the most comfortable –or useful–. “We live in a world in which the sexualization of bodies is the order of the day, and where we constantly have to use our superficial physical body to give ourselves power,” she considers.
A power that seeks to provide and give back with its lyrics, as stated in the song A sal: “I deny heroics, I am the guardian. The wolf without a wolf. I am the river. I push the message from my sensitive self. I don’t run away, I squeeze myself, I run out of juice. Better to admire me.”
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