De la politizacion de la danza a la dancificacion de la politica
Naser Rocha, Lucia
2017
Abstract
This dissertation moves from the analysis of the ways contemporary dance is politicized in the Brazilian cultural field to the massive protests that shook many cities of that country since June 2013, read as choreography. The dissertation analyzes the dance pieces Wagner Ribot Pina Miranda Xavier Le Schwartz Transobjeto (Wagner Schwartz), Eu sou uma fruta gogoia em 3 tendências (Thelma Bonavita), Matadouro (Marcelo Evelin), The Hot 100 Choreographers (Cristian Duarte), Lote (Duarte), Como_CLUBE (Bonavita) y Proyecto Multitud (Tamara Cubas), to observe how, in dialogue with their contexts, they problematize identity, history, nationhood and the body as archive, in order to analyze the ways these dimensions organize contemporary social life. In dialogue with the approaches of Jacques Rancière about the politics of aesthetics (The politics of aesthetics...) and André Lepecki´s about coreo-politics (“Coreopolítica...”), this work aims to discuss the ways in which choreographic tools are able or not to interrupt hegemonic distributions of the sensible and to create new spaces of experience and relation. These conceptualizations of politics are contrasted with the “impolitic” approach developed by authors such as Roberto Esposito (Terms of the political...) and Alberto Moreiras (Línea de sombra...). Chapters One and Two concentrate on dance pieces that performatively discuss Brazilian identity and the historical and semiotic processes that take part in the disputes over its construction, focusing on the tensions between the global and the local, and on brazilian history. Chapter Three discusses the history and conventions of the Uruguayan and Brazilian dance fields; emphasizing on the tensions between the spectacular and the phenomenological, that throughout dance history led to poetics and politics that coexist in a disputed way. This chapter focuses on different ways of understanding representation and communication in dance languages which precede contemporary dance and those inhabiting her. With that in mind, the dissertation pays attention to the aesthetic, political and cultural frames that intervene on the creative and performative processes of contemporary theatrical dance. Looking at the theatrical forms of dance and how its communication and symbolization processes are based on the body, this dissertation tries to recover the political potential of the experiential dimension of dance practices and also the organizing and counter-hegemonic tools of choreography. This tension between the experiential and the spectacular exposes analogies between dance and politics, opening questions and challenges that this dissertation tries to deploy by analyzing the emergence of massive public demonstrations in the Brazilian political scene, interrupting, as an event, the institutionalized political processes of liberal democracy. Thus, chapter four goes back to Brazil, but not to study artistic works, but the ways in which the choreographical, as frame for social mobilization, intervenes in the political, creating encounters between bodies and collective experiences that trigger processes of communal subjective transformation. Final reflections point out some possible ways to radicalize and intervene over the representation crisis affecting dance and politics in contemporaneity.Subjects
dance choreography politics
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