Elisabetta Consonni And The Colored Girls Say: Doo Da Doo Da Doo Da Doo

And The Colored Girls Say: Doo Da Doo Da Doo Da Doo is a choreographical survey on the scenic edge as a metaphor of the social margin. Enacting the anonymus place that background choristers have in american pop culture, Elisabetta Consonni outlines them like a chiaroscuro of bodies and voices in the shadow of the limelight. It is a concert of voices outside the chapter, of second voices, extras and backgrounds. It’s a show without the star, it is what is around the focused object in an image, it’s the white around the written words. It is anything beyond a margin line and not allowed to enter the bright area of ​​the limelight. 
A precise intention is needed to distinguish the choruses of the background singers of a song and isolate them from the main voice, as well as to notice the backgrounds and everything around a central object on which our attention is directed. It is essential to activate what the architect Juhani Pallasmaa calls peripheral vision, a natural ability of each of us, made lazy however from a centuries-old education in perspective view directed towards a hegemonic center-vanishing point to which our attention is directed. It is this peripheral vision that makes us notice the margin, where one cultivates one’s horizon in the circumscribed limit of small established movements and rhythms, where one remains secondary elements, counterparts of other protagonists, accessories, periphery. 
It is in that margin that a generative humanity lives. And The Colored Girls Say: Doo Da Doo Da Doo Da Doo (from Walking on the wild side by Lou Reed) is a declaration of love towards all of this. It’s a “Praise of the Margin” (b.h.)