Os Fluxos e Refluxos da Geopolítica da Produção do Conhecimento em Dança

TY - GEN

T1 - Os Fluxos e Refluxos da Geopolítica da Produção do Conhecimento em Dança

AU - Rosa, Cristina F.

N1 - online version here: https://proceedings.science/trans-in-corporados-2017/papers/os-fluxos-e-refluxos-da-geopolitica-da-producao-do-conhecimento-em-danca

PY - 2017

Y1 - 2017

N2 - In this lecture Rosa questions the place that Brazilian cultural production occupies abroad, within the context of dance. In the first part, Rosa traces a brief historical overview of dance in Europe and the United States in the twentieth century, both as an artistic form and as an academic discipline. On the one hand, she proposes, dance has broken down several barriers, ranging from the expansion of way of dancing and choreographing (far beyond the classical ballet and its romantic narratives) to its understanding as a field of knowledge production (beyond an object of study or consumption). On the other hand, Rosa affirms that, despite these advances, both the academic and the artistic world of the Global North haven’t completely de-linked from the Eurocentric framework established in the colonial era and perfected during the British and North American Imperialisms. That is, dance developed throughout the 20th century from a modern abyssal line (Sousa Santos 2007) that generated two different files. According to Marta Savigliano (2011), the so-called Dance-Art Archive has been largely devoted to collecting productions that were created or that gained visibility within the Global North, mostly allied to a Eurocentric viewpoint or aesthetic (classical, modern, postmodern, or contemporary). In contrast, all other types and forms of dance that exist around the world have been historically collected within the Dance-Anthropology Archive. While the former is organized around the artistic innovation of authorial works and their aesthetic relevance, the latter groups forms around the social relevance and the authenticity of their collective practices and processes. Here are so-called “primitive”, ethnic, folk, and more recently, what has been called "World Dance" in the United States. In the second part, Rosa discusses the implications of this scenario described above to the recognition and circulation of dances produced in Brazil, a country where elites have supported Eurocentric tendencies despite the majority of the population identifying themselves as African descendants. As one might suspect, the dances connected to the African and Amerindian heritages in Brazil were historically catalogued abroad almost exclusively within the Dance-Anthropology Archive. Thus, the artistic valorisation of these forms, and their creators, has been minimized or despised. Later on, Rosa points to the questions that began to emerge from the dawn of critical dance studies at the end of the twentieth century, both in Brazil and abroad, and the transformations from the infiltration of artists and scholars from various parts of the world (and diverse artistic-cultural formations) within the hermetic Dance-Art Archive. In particular, Rosa cites examples of national and international pioneers, and more recent ones, whose works permeate or shed new light on the relevance of Afro-Brazilian aesthetics and their producers of artistic knowledge. In her conclusion, Rosa names a few points that are still to be reached and indicates new routes to be traced in order to complete the recognition of various types of Brazilian dances in foreign lands.

AB - In this lecture Rosa questions the place that Brazilian cultural production occupies abroad, within the context of dance. In the first part, Rosa traces a brief historical overview of dance in Europe and the United States in the twentieth century, both as an artistic form and as an academic discipline. On the one hand, she proposes, dance has broken down several barriers, ranging from the expansion of way of dancing and choreographing (far beyond the classical ballet and its romantic narratives) to its understanding as a field of knowledge production (beyond an object of study or consumption). On the other hand, Rosa affirms that, despite these advances, both the academic and the artistic world of the Global North haven’t completely de-linked from the Eurocentric framework established in the colonial era and perfected during the British and North American Imperialisms. That is, dance developed throughout the 20th century from a modern abyssal line (Sousa Santos 2007) that generated two different files. According to Marta Savigliano (2011), the so-called Dance-Art Archive has been largely devoted to collecting productions that were created or that gained visibility within the Global North, mostly allied to a Eurocentric viewpoint or aesthetic (classical, modern, postmodern, or contemporary). In contrast, all other types and forms of dance that exist around the world have been historically collected within the Dance-Anthropology Archive. While the former is organized around the artistic innovation of authorial works and their aesthetic relevance, the latter groups forms around the social relevance and the authenticity of their collective practices and processes. Here are so-called “primitive”, ethnic, folk, and more recently, what has been called "World Dance" in the United States. In the second part, Rosa discusses the implications of this scenario described above to the recognition and circulation of dances produced in Brazil, a country where elites have supported Eurocentric tendencies despite the majority of the population identifying themselves as African descendants. As one might suspect, the dances connected to the African and Amerindian heritages in Brazil were historically catalogued abroad almost exclusively within the Dance-Anthropology Archive. Thus, the artistic valorisation of these forms, and their creators, has been minimized or despised. Later on, Rosa points to the questions that began to emerge from the dawn of critical dance studies at the end of the twentieth century, both in Brazil and abroad, and the transformations from the infiltration of artists and scholars from various parts of the world (and diverse artistic-cultural formations) within the hermetic Dance-Art Archive. In particular, Rosa cites examples of national and international pioneers, and more recent ones, whose works permeate or shed new light on the relevance of Afro-Brazilian aesthetics and their producers of artistic knowledge. In her conclusion, Rosa names a few points that are still to be reached and indicates new routes to be traced in order to complete the recognition of various types of Brazilian dances in foreign lands.

M3 - Conference contribution

BT - Trans-In-Corporados

PB - GALOÁ

CY - Rio de Janeiro

ER -