Crossing Collaborative Borders: The Making and Becoming of ÓRALE! by David Herrera Performance Company and El Vez, the Mexican Elvis

Your time has come to fly

You have no borders

—El Vez, “Órale,” sung to the tune of “Bridge over Troubled Waters”

With brightly colored papel picado (cut paper banners), tissue flowers, and Latin American flags festooning the performance area at San Francisco's Z Space, David Herrera Performance Company's September 2023 event, ÓRALE!, promised fun and festivity. On its surface, the performance resembled a typical dance program, with an ensemble of ten dancers performing eleven separate pieces choreographed to songs from the catalog of El Vez, the Mexican Elvis, but an exciting hybrid form of movement theatre emerged through the interplay of live music, dance, and El Vez. Built around the music and performances of Robert Lopez, who has performed as El Vez for more than thirty years, ÓRALE! offered an opportunity for an intergenerational community of artists to find themselves in El Vez's work, and for Lopez to see his own vision reflected in the interpretations of the young dancers and choreographers involved. This article considers how ÓRALE! harnesses the creative possibilities of resisting the implied disciplinary borders that too often separate music, dance, and theatre performance. We begin by discussing the creative invitation that El Vez offers, to make clear how he uses his art as a form of world building, using popular culture to critique US American society, make visible the disparate cultural traditions that exist within US American cultural forms, and to envision new ways of being. We then discuss ÓRALE! following two different through lines: process and product. The collaborative process of ÓRALE! was a site of cultural, intergenerational, and geographic exchange, inviting both performers and audience into a genre-defying performance that raised critical questions around intermediality and transtemporality in the arts. As a process very much in development, the collaboration experimented with learning through doing that led to a performance event that was at times messy and at times magical. Following Elizabeth Ellsworth, ÓRALE! was an example of “knowledge in the making,” a fluid experience through which “the self is understood as a becoming, an emergence, and as continually in the making. This . . . moves us beyond a contemporary politics of difference based in semiotics and linguistics toward an experimental ‘pragmatics of becoming’ based on making and doing.” The event embodied a Muñozian process of disidentification to bring into being a utopian present, residing in this space of becoming and of knowledge in the making to reveal the complexities of Latinx subjectivity while rejecting essentialist understandings of race, ethnicity, and culture.