Ayelén Beker, a trans reference of cumbia, singer and actress from Rosario who last year released her first album, “Furia”, and filled the amphitheater with her shows, premieres this Friday “Cabaret Quir”, a new show in which he explores jazz and blues. In this new proposal, she will be accompanied by the local band Dissident and will feature an artistic and performative display from the artist collective Casa Kaos.
“Cabaret Quir”, said the artist, “comes to break with the stereotypes of trava and cabaret”. In that sense, he explained: “It is seen as something censored and clandestine, always subject to sex work and drugs, to excesses. But we, like the cabaret, are pure art if we know how to appreciate it and we build ourselves with freedom as a philosophy. I see it as something real, transparent, a place that opposes itself, that is outside the pacata society ”.
The idea for this work arose as a result of the conflictive situation she went through during the pandemic when her neighbors tried to evict her from her home for being a transvestite. That “melancholy and the slap of the Covid,” she explained, made her reconnect with blues and jazz and “display the accumulated desire” she had to delve into those genres and turn her artistic career around. So it will be, although without leaving aside the cumbia, which he considered as “a party where we purge all the pain”. “I inhabited darkness that I did not believe I would experience again, however and with a lot of love for what society believes to be wrong, I was able to transform all that into art,” he said.
“Cabaret Quir” opens this Friday, at 8 pm, at the Güemes Cultural Center (Ovidio Lagos y Güemes). The show has the support of the Cultural Industries Market of the Ministry of Culture of the Nation, Plan for the Promotion of Culture of the province and the Municipality of Rosario.
How did this show come about?
First came the lyrics, which come from things that pierced my body and soul during the pandemic. I inhabited darkness that I did not believe I would experience again, however and with a lot of love towards what society believes is wrong, I was able to transform all that into art. Thus was born “Cabaret Quir”, this fantasy trava that takes us on a journey to these ancient dens where sex work, lust and art are no longer forbidden and are enjoyed and enjoyed.
What songs are you going to interpret? Classics, own?
The songs are their own and I think nobody expects what we are going to give in this show! They are their own lyrics that were produced in collaboration with the Rosario alternative rock band Dissident that break it up and provided the beautiful instrumental full of colors and sounds. Quiti, a musician I have worked with for years, also accompanied the process. With them I am finding these genres that long ago had a handle on singing.
Does this foray into jazz and blues mean you’re going to give up on cumbia? What do you find in each genre?
I’m never going to leave cumbia aside! We are going to continue giving everything with the Beker Band. These days we were traveling with the cumbia band through various locations. I love this energy and seeing the public dance to the songs of “Furia”, my first album, because you can tell that they enjoy it as we do. That is what the cumbia has, it is a party where we purge all the pain. Here also the pain is purged, but from another side, appreciating the beauty … “Cabaret Quir” has a different artistic facet, it is a very beautiful show, to enjoy every detail, it is music that makes you travel, it takes you to your memories, to the fantasy of the cabaret, it makes you part, it shares your soul.
Why do you say that the show comes to “break with the stereotypes of trava and cabaret”? What are those stereotypes?
I see a great parallel, it is not by chance that the cabarets have been our stages. He is stigmatized with something linked to the grotesque, to the excessively promiscuous, something censored and clandestine, always subject to sex work and drugs, to excesses. That is why so much hatred and persecution, so much jute breaking into the bodies. But it is pure fear of reality. We, like the cabaret, are pure art if we know how to appreciate it and we build ourselves with freedom as a philosophy. I see it as something real, transparent, a place that is opposed, that is outside of the pacata society. With sensuality and femininity in its eyes, the cabaret intrigues and seduces you.
What attracted you to the idea of the cabaret?
The indicated places are those where they sheltered us in moments of darkness, those that I faced in the pandemic. The cabaret was one of those places and the music was a perfect fit for that fantasy. I understood that I have to be there to arm myself, strengthen myself and get out of this hostile society.
You comment that during the pandemic your neighbors tried to evict you for being a transvestite. Currently, there is a trans quota in the workplace, in addition to the gender identity law, equal marriage. What is still missing? Legislation changes, but society is reluctant to those changes?
A lot is missing! And in the cabaret you can see from the art the failure of the State, of society. The fight for the cure of HIV, the lack of housing of the companions, the criminalization of sex work, are latent demands, but there are more things that we need, that society needs: the real implementation of the work quota, respect for the law gender identity, an ESI with perspective, which is so much needed for children to live freely, with support and care. There is that future that we long for, in the upbringings that have the right to information, that I hope will grow up with another head, in another world.