Essay by Sophie Bonet

In an era marked by global upheaval and unprecedented isolation, art has found new ways to transcend borders and connect people. “The Crossings: A Global Movement Experience,” conceived by visionary choreographer Damaris Ferrer, is a testament to the transformative power of collective dynamics. This project redefines traditional dance and performance, offering a profound exploration of communal storytelling through the medium of movement. Born from Ferrer’s insightful observation of her students during her work as an adjunct instructor at Broward College and inspired by her innovative spirit, “The Crossings” is an evolving narrative that celebrates the resilience and adaptability of the human spirit.

The genesis of “The Crossings” began in 2019. Recognizing her students’ struggles with stillness, awareness, maintaining eye contact, and responding to each other’s physical cues, Ferrer envisioned a monumental skirt over 20 feet in length with eight waistbands. This garment was not merely a costume, but a conduit for shared experiences, compelling students to navigate movement collectively with generosity and surrender. The initial performances showcased the theatrical potential of the skirt while also highlighting the need for deeper and more responsive engagement among the dancers.

Robert L. B. Tobin Land Bridge, San Antonio, Texas (March 6, 2021). Ritualistic crossing over a land bridge, emphasizing community and connection.

The outbreak of the global pandemic in 2020 brought about a profound shift. It was during this period of enforced stillness that Ferrer reimagined her vision. The traditional constraints of choreography, performance, audience, and stage were stripped away, making space for an innovative “movement score.” This score invited participants—referred to as “movers”—to engage in unscripted, intentional journeys, observed by their communities rather than a conventional audience. This approach resonates with Nicolas Bourriaud’s principles in *Relational Aesthetics*, emphasizing art as a medium of human interaction within social contexts.

The project officially began its journey in November 2020, with the first crossing over a bridge at Long Key Nature Center in Davie, Florida. This marked the first of many crossings, each unique and deeply personal, facilitated in diverse locations across the globe. From Davie to Bogotá, San Antonio to Singapore, each crossing became a practice of connection and transformation. The skirt, carried in a duffle bag adorned with the signatures of global participants, traveled alone, symbolizing the shared creative spirit that transcends geographical boundaries.

Singapore (October 26, 2021). New mother and friend with children walking with the skirt, highlighting personal and communal significance.

A pivotal moment occurred during the fourth crossing in San Antonio, where the experience took on a ritualistic significance. The participants, moving over a land bridge, imbued the act with a sense of community, protest, and connection to the land. This crossing underscored the project’s open-ended nature, proving that the movement score could adapt to and reflect the unique cultural contexts of its participants. This resonates with Victor Turner’s concept of the ritual process, where structure and anti-structure coexist, allowing for spontaneous, communal creativity.

Each crossing was meticulously documented through photographs, videos, audio narrations, and written testimonials. These multimedia elements serve as a testament to the project’s diversity and adaptability. For instance, the crossing in Singapore, constrained by stringent COVID-19 restrictions, saw a new mother and her friend walk down a street with their children, the skirt trailing behind them. This simple yet profound act of movement, documented in serene images and heartfelt testimonials, highlighted the personal and communal significance of “The Crossings.”

The project continued to evolve, embracing the challenges of isolation and travel restrictions. Facilitators in each location took on the responsibility of organizing crossings, inviting movers and witnesses, and documenting the events. The skirt became a vessel of shared experiences, its significance varying with each group—representing ritual, connection, femininity, or even political symbolism, depending on the context.

The significance of the skirt and the duffle bag extends beyond their physical forms. As Maurice Merleau-Ponty discusses in Phenomenology of Perception, our embodied experience of the world is fundamental to our understanding of it. The act of wearing the skirt, feeling its weight and flow, and moving in synchrony with others fosters a deep awareness of self and others, creating a powerful sense of interconnectedness. This concept aligns with Ferrer’s educational philosophy of somatic exploration, which emphasizes the importance of bodily awareness and experiential learning in dance. Ferrer believes that through somatic practices, dancers can develop a deeper understanding of their own bodies and movements, leading to more authentic and responsive performances. The skirt, as it traveled from one location to another, gathered not just signatures but also stories, emotions, and cultural imprints, becoming a living testament to the power of collective movement.

Movers navigating urban spaces, reflecting cultural and political contexts.

Bogota, Colombia (Jan 6, 2020). Movers navigating urban spaces, reflecting cultural and political contexts.

The exhibition is designed to dissolve the traditional divide between performer and audience, inviting visitors to become active witnesses in the unfolding narrative. This aligns with the philosophy of relational aesthetics, where art exists within the realm of human relationships and interactions, reflecting on Jacques Rancière’s ideas in The Emancipated Spectator, where he advocates for the removal of the hierarchical divide between the viewer and the artist, encouraging a more participatory and inviting experience. Here visitors are encouraged to engage with the multimedia elements, read the testimonials, and even participate in live demonstrations, thereby becoming part of the collective journey.

One of the most powerful aspects of this project is its ability to amplify voices often unheard. By inviting diverse communities to interpret the movement score, the project weaves a rich tapestry of global narratives. Each crossing is a unique expression of cultural identity, personal experience, and communal solidarity. The exhibition space, with its living map and multimedia installations, invites visitors to traverse these narratives, witnessing the interconnectedness of our global community. “The Crossings” stands as a profound celebration of this interconnectedness, challenging conventional boundaries of art-making and performance, and offering a hopeful gaze toward new methodologies in collaborative and participatory art. Through its communal and environmentally conscious approach, the project redefines the essence of movement and connection.

As we immerse ourselves in this experiential journey, let us witness, participate, and be moved by the collective pulse of shared human experiences across the globe. “The Crossings” is an invitation to embrace the intentional journey forward, trusting in the transformative power of collective artistic action and celebrating the boundless potential of movement to unite, narrate, and inspire, reminding us that even in times of isolation, we are all connected by the invisible threads of our shared humanity.

Through this project, Damaris Ferrer has not only redefined the boundaries of dance and performance but also created a new understanding of how movement can speak to our deepest need for connection and understanding. “The Crossings” is a beacon of hope, a celebration of diversity, and a powerful reminder of the transformative power of collective movement.

WHAT: The Crossings

WHERE:  The Frank – 601 City Ctr Wy, Pembroke Pines, FL 33025

WHEN: Opening Reception September 12, 6-9 PM 

CONTACT: (954)392 – 2120

FOLLOW THE FRANK 
Website | Instagram

Image References

1. Long Key Nature Center, Davie, Florida (November 2020). First crossing, image of movers on the bridge with the skirt.
   Facilitator: Damaris Ferrer
   Movers: Damaris Ferrer, Paola Escobar, Niurca Marquez, Lucila Godoy, Dawn Nunez
   Duration: 60min
   Image Credit: Nathalia Novela
   Witnesses: Barbara Sloan, David, Nathalia Novela, Marirene Fernandez

2. San Antonio, Texas (February 2021)
   Ritualistic crossing over a land bridge, emphasizing community and connection.
   Facilitator: Amber Ortega
   Movers: Amber Ortega, Ceiba Ili, Erika Casasola (Curandera)
   Rosie Torres, Aimee Villarreal
   Image Credit: Stephanie Hinojosa

3. Singapore (July 2021)
   New mother and friend with children walking with the skirt, highlighting personal and communal significance.
   Facilitator: Bernice Lee
   Movers: Bernice Lee and child, Mama, and child.
   Starting point: Cantonment Primary School
   Ending point: Goethe Institute
   Photo Credit: Bernice Lee & Mama O

4. Bogota, Colombia (March 2021)
   Movers navigating urban spaces, reflecting cultural and political contexts.
   Paola Escobar
   Duration: 2 hours
   Image Credit: Federico Silva