ImillaSkate: A study of standardising skating in skirts.
Words by Amelia Erswell
Image One: Deysi Tacuri Lopez (2021). Photographed by Sergio Ribero.
Founded in 2018, ImillaSkate are an all-female skateboarding team based in Cochabamba, Bolivia. ‘Imilla’ translates to ‘little girl’ in both Aymara and Quecha, two of the most commonly spoken Native Bolivian languages. Not only does the group attempt to break down barriers, in relation to the typically male dominated nature of the sport, they have another important message. As Deysi, a member of the team (seen in Image One), noted in an interview with The Guardian: ‘We started as regular skateboarders – with time we had this idea about dressing up like cholitas because it identifies us. Nowadays it is a fusion of both things. Skateboarding for me is about progress in my life.’
In thinking about time and identity, it becomes crucial to address Deysi’s use of ‘cholitas’. Observing that whilst the group began as ‘regular skaters’, in ‘dressing up’ ImillaSkate acknowledge the importance of the ‘fusion’ of passion, for both their hobby and heritage. Indeed, the term ‘cholitas’ – in this context – refers to the indigenous Aymara and Quechua women who experienced ostracization, being systemically marginalised up until the late 2000s. These women were recognised for wide skirts, braided hair and bowler hats, all of which ImillaSkate take pride in wearing. An important figure, using her profile and status to inspire the Bolivian community is Congresswoman Cristina Choque Paxi, who gained a seat in Parliament during 2014.
The decision to wear polleras is regarded as symbolic of their message of inclusion and diversity. With origins that provide additional historical weight, this traditional Bolivian dress was associated with women of the highland regions. A style imposed upon native citizens, during the Spanish conquest of the 16th century, over time it has metamorphosed to take on a different essence: that of strength, resilience and power.
In returning to the skate group, we learn that the thought behind their attire is further augmented by nostalgic family ties. The girls’ polleras, handed down from their grandmothers, mothers and aunties, provide an additional layer of sentimentality. Such beauty and strength, presented in their rational, is conveyed within these powerful images -taken by Brazilian photographer Luisa Dörr.
Image Two: Brenda Tinta (2021). Photographed by Luisa Dörr.
Image Three: Deysi Tacuri Lopez (2021). Photographed by Luisa Dörr.
Dörr’s work typically focuses on the feminine human landscape, creating a cohesive narrative thread to aid audience engagement with her subject matter. In both Image Two and Image Three, movement is captured in an active way. With the girls’ every move, we almost feel the breeze that manipulates the fabric of their polleras. These two images complement one another, as a diptych: we have the inverted pink and blue of their respective polleras and setting. The way in which the skateboard acts as both an extension of the girls themselves and their surroundings, is encapsulated in Image Four.
Image Four: Daniela Nicole Santivàñez Limache (2021). Photographed by Luisa Dörr.
In Image Four, we distinguish Daniela lying on the ground next to her skateboard. The composition is sliced in half, via a horizontal orientation - we observe the contrast of the mountainous natural topography with the man-made skate park. In the top section, Daniela’s fellow team-members chat, preparing to skate. Likewise, in the background, the children’s playground (with the swings and gazebo), denote the satisfaction and pleasure those of all ages gain from visiting the recreational park. The dusty pastel tones of the hillside cohesively draw the audience’s eye to the foreground and the terracotta-painted concrete of the skatepark floor … on which Daniela reposes. One hand on the skateboard, she channels its energy: stationary and calm, but for the wind whipping up strands of hair, obscuring her face from full view. With the beauty of the vast array of shades, found with in her elegant lilac dress, sublimely juxtaposed by her practical converse and socks … the image forces us to recall the purpose and message of the ImillaSkate group. That beyond the aesthetics of fashion there is power behind beauty, that women are capable of great feats given the time, space and skills.
Image Five: ‘For Apple: traditional cholita skirt (2018). Photographed by Luisa Dörr.
A perfect way to conclude this article is to look at the power of an image taken from Dörr’s project ‘The Flying Cholitas’ titled For Apple: traditional cholita skirt (2018). Taken in El Alto, this beautiful image encapsulates the power of fashion. Seemingly suspended in mid-air, the golden garment levitates; it exists in a space all of its own … a transitory space, somewhere between the ground and sky. It is given its own agency, something that we might argue – once worn – extends to its model. Fashion is a form of power.
When thinking about our latest exhibition That’s Hot, the message illustrated by ImillaSkate comes to mind: in styling our models – placing them in a communal setting that celebrates cultural roots, skate culture and the early 2000s – we hope to have created a captivating and powerful atmosphere enjoyed by all!
For more information on ImillaStake and Luisa Dörr, take a look at their Instagram: @imillaskate and @luisadorr. Also, if you are interested in our exhibition That’s Hot (and the ‘Modern Renaissance: York’s Creative Festival’) check out our website https://www.normanrea.com or follow us on our socials @normanreagallery.
