In Cadências crioulas, dez mil vezes desdobradas (Creole Rhythms Repeated Ten Thousand Times), Malvin Puerca de Goma and Inés Sybille Vooduness slide into questions contaminated by the Marassa twins of voodoo iconography in motion.
In a gesture of underground escape that is simultaneously lighthearted, the performers work in an imaginary-forgeron, a metallic, spiraling, sticky, fun, and dangerous poetics. Like a diasporic network, Angolan Kuduro, Jamaican Dancehall, Gagá, Guloya, Dominican Bamboula and Dembow, and Haitian Yanvalou allow them to flirt ironically with machetes, horns, and amplified lamentations.
Through the syncretism of this noise of codes in which Malvin and Inés mobilize and produce memory, this union reterritorializes an erotic, protective, and strategic spirituality.