Developed between 2020 and 2021, #queseacabechile is a solo performance for performer, an installation of cooking pots, projections and electronics. Through these various elements, the viewer enters a space that confronts him/her with a static body that varies between an offensive and defensive position.
The performance is based on the Chilean political context that emerged on October 18th, 2019, as a social outburst, which resulted in a series of human rights violations by the police and military. #queseacabechile attempts to represent the notion of collectivity from a single individual, and from the multiplicity of the pots, which derive from an act of protest known in Chile as “cacerolazo.”

#queseacabechile is a hashtag used by people in Chile to condemn different aspects of the social, economic and political situation in Chile. This name was taken as a title, because of the importance that social networks took at that time for the dissemination of police violence.


Tamara Miller initiates her composition studies at the Universidad de Chile with Jorge Pepi-Alos, Miguel Letelier and Rafael Diaz. She is currently based in Germany where she completed her Master’s degree in composition at the Hochschule für Musik Carl Maria von Weber Dresden with Manos Tsangaris, Franz Martin Olbrisch and Mark Andre, and where she is now studying a new Master’s degree in electronic music at the Hochschule für Musik und Tanz Köln with Michael Beil.

Tamara dedicates her work to the creation of contemporary instrumental music of diverse conformations, as well as to the search for more experimental and interdisciplinary formats through the inclusion of scenic elements such as the use of the body and space, or light design, to mention a few. This search has led her to focus on collaborative and interdisciplinary work, giving rise in the first instance to the Acantun Kollektiv in 2019, established in Dresden, with whom she develops concert programs in collaboration with ensembles such as El Perro Andaluz and Sinfonietta Dresden. In 2020 she founded together with other South American artists the interdisciplinary collective LAR∀S, which focuses on Latin American socio-political issues, migration and feminism.
Parallel to the work with these groups and the commissions she receives, she also tries to develop personal projects such as the performance #queseacabechile, premiered in 2021.
In the last few years she has been gradually including electronics in her work, opening her palette of possibilities in her collaborative and personal creations.

She received the first prize in the project “Composers in Region – Fantasie Musik” of the Elbland Philharmonie Sachsen, and in “Premio OSSCA” of the Orchestra Sinfonica di Salerno Claudio Abbado. She was also awarded the third place at the “Orquesta Marga Marga” composition competition.

Tamara has participated in various festivals including the Festival Musica in Strasbourg, the IMPULS Festival for New Music Saxony-Anhalt 2019, the Transformation Festival Copenhagen 2017, the Transformation Festival New York, the V Berlin Soup International Festival of the Arts, the IIo Ciclo de Música Chilena Contemporánea SCD, II Festival Azul, and the XVIII Festival International de Música Contemporánea. In addition, she has had the pleasure of working with ensembles such as Musikfabrik, Ensemble Linea, Tempus Konnex, Ensemble Intercolor, Duo Sereno, Orquesta de Cámara de Valdivia, the Elbland Philharmonie Sachsen, Cuarteto de Percusión Valparaíso, amongst others.

Find out more about: LAR∀SACANTUN

Listen to my podcast “Las vueltas del Run-Run.” A podcast about chilean music. Only available in Spanish.