"Trabis" is a contemporary circus performance that explores the complex relationship between labor, identity, and societal values. The title, derived from the Latin word for "work," reflects the struggles and obstacles faced by individuals within labor systems. Through the stories of two central characters—Death and The Farmer—the piece uses aerial arts, dance, and live music to delve into themes of exploitation, resilience, and survival.

At its core, "Trabis" critiques how bodies are commodified and dehumanized in the context of work. Death, portrayed with both humor and intensity, challenges the audience to confront their privilege and complicity in the global systems that sustain inequality. The Farmer, a symbol of the immigrant experience, embodies the laborer’s resilience, navigating both physical and emotional struggles through aerial movements and acrobatic feats.

The performance is not just a story about labor; it's a personal reflection on survival, migration, and the human spirit in the face of adversity. Through this work, the artist seeks to spark dialogue on social justice, encourage reflection on privilege, and question the global systems that exploit the most vulnerable.

In addition to its rich thematic content, "Trabis" has two performance formats: a 15-minute version for a quick, impactful experience, and a 45-minute version that allows for deeper exploration of its characters and themes.

At its heart, "Trabis" is an artistic call to examine how labor defines us, challenges us, and connects us all in an increasingly divided world.

In a world rife with geopolitical tensions and environmental degradation, "Trabis" serves as a critical commentary on imperialism and the commodification of life. As a Latina immigrant, my experiences shape this narrative, urging audiences to question the systems that uphold their privileges. Through circus arts, I aim to craft a lexicon that amplifies these voices, fostering a space for critical reflection and dialogue.

I envision "Trabis" as a means to explore the complexities of human experience through the lens of circus. By personifying these characters, I seek to cultivate a rich understanding of how each story interconnects with broader socio-economic structures. This work challenges the notion that circus cannot be a vehicle for profound social commentary; rather, it showcases how artistry can provoke thought and inspire change.

This piece was presented at the Cannonball Festival in the USA in a 45-minute version. Over the past year, I dedicated myself to creating the aerial wheelbarrow. In 2022, I started my life again in the USA, which required significant adjustments. One of the most pivotal experiences was learning to drive a car for the first time, a skill that my father had only taught to the men in our family. With public transportation being inefficient, I had to navigate the highways, driving illegally while my green card was processing and unable to obtain a learner's license without a social security number. Amid this bureaucratic drama and migrant work, the wheelbarrow began to rise from the floor, mirroring my own journey of resilience and adaptation. I’m excited to have my special wheelbarrow to dance in the air. As I developed the characters for "Trabis," this personal experience of overcoming obstacles became intertwined with the narratives of the performance. I actively refined my ideas, exploring how each character embodies the struggles of labor and identity. During this process, the musician and I collaborated on the floor, working through character movements on silks. As each character formed, I orchestrated their sound with musical artist B.E. Farrow, who created several tracks and textures for this performance and arranged ways to integrate ambient sounds into the audio mix. This interplay between my personal experiences and the creation of the dramaturgy enriched the development of each character, allowing them to resonate with the themes of privilege and struggle that "Trabis" seeks to address.