Open Access Arts: Cachín Cachán Cachunga! turns 5

To paraphrase a line from George Clooney's latest film project (The Monuments Men, due for release later this month) art is integral and vital to society, since art is tied to expressions and memories of identity. Destroying art makes it possible to rewrite history (after all, it is written by the winners) due to this loss of idenitity.

Celebrity-related commentary aside, the notion that identity can be expressed through creativity is not a new one. Many philosophers, writers, and artists have works that showcase this. Supported by LGBT History Month's Cultural Events Fund and having partnered with the Scottish Transgender Alliance (STA) since 2011, Cachín Cachán Cachunga's fifth birthday comes to celebrate queer/trans* identity and community, while embracing diversity, and fighting for inclusion. 

Originally organised by the Zorras (Sandra Alland, Y Josephine), Ania Urbanowska and Lily, past Cachín Cachán Cachunga nights have adopted the episodic cabaret format, with different performers taking the stage in turn, to showcase their various talents. This year, with Alland acting as a curator and Urbanowska as the technical artist, along with Ariadna Battich, they have decided to alter the format in celebration of Cachín's fifth anniversary.

The result is called SEEP: Fluidity in body and landscape. As the title suggests, the event tackles fluidity both in subject matter and format. On a practical level, SEEP involves a guided tour of an exhibition of visual art – including film, painting, installations, sculpture, live performance, and photography – by trans* and queer artists. This will be followed by a live performance, taking on a more traditional Cachín Cachán Cachunga tone, although, admittedly, there is nothing traditional about it. 

“We decided to focus more on visual art, but also not lose the electric live element that’s such a part of our history,” Alland remarks. “We’ve always been about interdisciplinary and experimental ideas, so this seemed a logical extension.”

Featuring work by Frida Khatoon, Maki Yamazaki, Elenor Einhorn and many more artists and performers, it is difficult to consider how this event would even begin to be described. The words 'interdisciplinary,' 'queer' and 'community-based' seem to be the most suited to the occasion. Furthermore, the Cachín organisers are putting together a potluck brunch for the Sunday (2 March) after the last night of performances, which comes with a PWYC haircut from London’s brilliant Open Barbers.

Sticking to the ethos established back in 2009, SEEP strives to be as inclusive as possible with British Sign Language (BSL) interpretation and/or subtitles for deaf visitors, as well as verbal description for blind ones. Also, it features alternative interpretations of the displayed works for those who are blind or partially sighted, such as a recording, something to eat, touch or smell.

"In terms of most visual art shows, blind people (if they’re lucky) get a downloadable audio tour or headset, or maybe a one-day special tour of an exhibition," Alland explains. "The same goes for deaf visitors – if you’re not available on one Wednesday at 2pm, you miss the BSL tour. This way, the access is integral to the show 
instead of an after-thought, and also opens up new ways of experiencing art for everyone who attends."

Whether a Cachín veteran or a timid newcomer, it is incredibly difficult to feel unwelcome at any event hosted by the Cachín organisers, since they focus on both art and community. They manage to guarantee a place for everyone who attends their events; giving a temporary, virtual home to migrants, people with disabilities, queer people with disabilities, people of colour, and/or trans* and genderqueer people. Also, due to the mingling at each event, the community spirit often outlives the event itself. Perhaps that's what it's all about.