Entre Malezas #5. La más humilde semilla rompe la piedra más fuerte, de Maya Sarabia

For this first conversation in *Entre Malezas*, I invited Maya Saravia, because of the many reflections we’ve shared on representation and visibility. Also because of her ability to overflow their boundaries, just as the best songs do. The original reason for the conversation was lost the moment we began. I recall a tentative intention to talk about reggaeton and how not all music means the same thing everywhere or at every moment. Sticking ‘only’ to music (or art) is part of conventions which, under the pretence of focusing on one thing, avoid or ignore other things. Moreover, speaking in a straight line is something that both Maya and I find quite difficult, paying homage to the weeds in form as well as in content. Among these is a verse by Luis de León that gives this conversation its title and with which Maya begins our exchange. We are accompanied by desires for opacity, the ambiguities of visibility, Burial, camouflage, military technologies, Tiqqun, the flows we wish to nurture and those we do not, ghosts, cruel optimism, Simone Weil, choreographies and choreopolices, love… and Palestine.

Maya Saravia is passionate about everything that moves, be it a body, a riot, a political idea or a religious belief. She is enamoured with the ephemeral and ecstatic presence of fire. She works with whatever medium is at her disposal, from painting to pyrotechnics.

Sonia Fernández Pan writes, produces podcasts, organises exhibitions and seeks out warm rhythms in cold places. She spends most of her time in Berlin, a city teeming with resistance to censorship, official lies and complicit silence. She dances less than she would like to.