Lálalai

Chanter

Oral Historian

I Fanlalai'an Oral History Project

Core Researcher

Adjunct Instructor

Chant Initiate

emcee

poet

lyricist

Movement artist

activator . sacred space

solo performance works

MALI'E

HIGHER INFINITE POWER HEALING OUR PEOPLE

Performed at On The Boards, Seattle, WA December 2018 
(In-Development)

movement . activation . lyrics . intuition . evocation .

MALI'E is an ongoing investigation into the contemporary expressions of the ancestors. 

A call-and-response to the spirit of the griot. It’s research towards spiritual solidarity oriented towards relationship and responsibility. How do we approach hip hop as a sacred space?

Photo Credit: Naomi Ishisaka

Guåhu guåhan

Performed at Indigenous Choreographers at Riverside 2015, Cahuilla Land, UC-Riverside,
& Line Breaks Theater Festival 2015 at University of Wisconsin Madison, Ojibwe Land  

Guåhu Guåhan (I Am the Place of Existence), is a 40 minute contemporary indigenous bi-lingual physical theatre work, written, composed and performed by dåko’ta, that renews the collective shards of sacred identities in this, a trans-pacific ceremonial activation.

 Guåhu Guåhan time travels diaspora routes to breathe in the life force of Guahan, their ancestral homeland. A shapeshifter/spirit/seeker spirals through infinite unlimited possibility emerging into meditative vision through prayerful spoken word. Volcanic chants and original ecological compositions of Guåhan open a portal to the creation story of a new world. The production honors all traditional guardians of the land on which it is performed.    

Photo Credit: Jonathan Godoy/Indigenous Choreographers at Riverside

Buried beneath: bombs & Latte

Performed at Voices Rising at Pride Festival 2013, Duwamish Land, Seattle, WA
Line Breaks Hip Hop Theatre Festival 2012 at University of Wisconsin-Madison, Ojibwe Land 

Buried Beneath: Bombs & Latte is 50 minute contemporary indigenous hip hop theatre performance work, written, composed, and performed by dakota camacho. 

 

The title is a metaphor contrasting our own potential– we could come together to build a sturdy foundation that elevates our people, like the Latte–, or we can allow weapons to be built, stored, and launched to destroy life. Growing up in a family of war survivors, dakota struggles between a mainstream culture of fear, over their own indigenous culture of respect and inafa’maolek (mutual respect and harmony with community). This hip-hop theater piece weaves poetry, traditional chant, historical analysis and cultural experiences to tell dakota's  queer life story, troubled by their catholic nåna and war veteran påpa. When bombs erupt, dakota re-carves family, to heal from generations of trauma.

A previous iteration of the work was conceived, written, & performed by Eva Chamorrita Aguon Cruz and Moñeka De Oro at the Mariånas History Conference in Saipan in 2012. 

Buried Beneath performed at the Line Breaks Hip Hop Theater Festival at University of Wisconsin, Madison

Photo Credit: First Wave Urban Arts and Hip Hop Theater Program / Office of Multicultural Arts Initiative at the University of Wisconsin-Madison,

© 2018 by Dakota Camacho