The project called “Oyeme con los ojos” (Hear me with the eyes) was the idea of dancer and choreographer of Spanish dance Maria Elena Anaya. This project is the product of intense work searching to highlight the figure of the poetess Sor Juana Ines de la Cruz, prominent Mexican woman, considered by many scholars as one of the most creative woman in Mexican literature. The title of this proposal is based on a poem that bears the same title. This suggests to us a semiotic process between the artist and the audience, and it is appropriate by virtue that the central theme of the proposal has its greatest link with the artistic discipline of dance. Thus, allowing a better understanding of what it tries to convey.
It is appropriate to point out that this project offers diverse artistic values, which unfold and merge among several disciplines, manifesting and expressing Mexican roots as well as the Spanish influence in the life of Sor Juana. It is for this reason that we include two dancing genres: flamenco and contemporary; as well as acting and music by way of expression. The setting on stage unfolds attempting to focus on a period that exhibits different perspectives of the religious and secular life of Sor Juana, her optimistic contribution and at the same time her defense of women’s role and social status in an ideological context.
Sor Juana’s greatest aspiration was to reach knowledge and mystical life by way of literature. At the same time, her aspiration was to contribute in breaking the anti-feminist and marginal position of oppression and clerical skepticism towards women imposed at that time by male society. The aforementioned is of extreme importance in showing and spreading women’s values in our days in a totally masculine and arbitrary culture, which still prevails some places on the planet.
“Oyeme con los ojos” is a very important project. This project seeks to spread, in the New York multicultural society, the value of the work and figure that Sor Juana Ines de la Cruz represents in the present, as a Mexican woman as well as beyond intellectual and literary dimensions in a pre-modern world. Thus, clearing a way to obtain great artistic sensibility with characteristics that have roots in our Hispanic-Mexican tradition. The same one that brings forward a transcendency worthy of admiration.
Lastly, the objective of the project is to enrich cultural wealth in Mexico as well as in the United States by means of the artistic work of this ambitious project. This project intertwines Spanish and contemporary dance, acting, music, poetry, taking again from them plasticity and corporal fluidity, strength, depth, passion, rhythm and eroticism as a sign of freedom of expression.
“More often, she forces her theatrical effects.. She frowned, leered, pouted and scowled with obvious intensity, with also with such obvious calculations that she seldom created an illusion of spontaneous passion.” Jack Anderson, “The New York Times”
"The finale left the audience clamoring for more...When the curtains closed, the crowd could be nothing than "Otra! Otra! Otra!" - Katania Castaneda, “The Mexico City Times”
"Anaya's skills are dazzling..." Josie Neal, "San Antonio Light"
"Perhaps the most amazing sensual moment comes when Di Palma dances with Maria Elena Anaya, a visiting master dancer from Mexico City...This is no small force flowing off the stage...This is the rising, whirling presence of the divine feminine flooding over the audience."- Jaime Meyer, "Minneapolis Star Tribune"