Skin tones: flows and frictions

Authors

DOI:

https://doi.org/10.36025/arj.v5i1.13638

Keywords:

Performance, Contemporary Dance, Criation process, Cross culturally, Political performance

Abstract

The present article relates to the presence of several normal esthetic patterns in contemporary dance, with certain hegemonic cultural powers, using flow and friction concepts. The aim of this article is to highlight how much coreografhic elements can show of political performances in it’s esthetic performance. The axis of our thematic analysis send us thus to Canclini, Gilroy and Louppe concepts, processes and theorizes of hibridization, acculturation and assimilation.

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Author Biography

Denise Mancebo Zenicola, Universidade Federal Fluminense - UFF - IACS

Choreographer, dancer and University professor. She holds a Master's degree in Theater and a PhD in Performing Arts from the Federal University of the State of Rio de Janeiro UNIRIO. She holds a Post-Doctorate Degree in Black Dances and Body Graphics / Capes, at ISCTE in Lisbon. IACS teacher, is an associate professor at Universidade Federal Fluminense - UFF and coordinates the group enrolled in the CNPQ Collective MUANES Dançateatro and Performances Afro Brasileiras. She is a collaborating researcher at the Federal University of the State of Rio de Janeiro, together with NEPAA (Center for the Study of Afro Amerindian Performances). She is a Coordinator at ABRACE, Brazilian Association of Graduate Studies in Performing Arts at the GT Performance Studies. Training in Classical, Contemporary Dance, Contact Improvisation and Black Dances. Works with contemporary Dance fusions with Afro-descendant Aesthetics in the scene. Shee has experience in the field of Arts, with emphasis on Performances Studies, working mainly in the following topics in Transdisciplinarity: dance, theater, memory, black art, videodance. Projects in Development: Perform artistic performances with the Collective Muanes Dançateatro; Develops Research Project Descolonial Masks; She develops the Research Project and Extension When play the Drum. In her curriculum highlights are prizes and financings: Faperj Arts (2008, 2010, 2011, 2016), Funarte (2015, 2012), Faperj Publishing (2012, 2015), Funarte Literary Circulation (2010), Funarte Aesthetic Residence (2010), City Hall Award -Promotion for Olympiad (2016). Books: Performance and Ritual, RJ, FAPERJ / Mauad X (2014) and Dramaturgies in Dance Theater, EDA, Madrid (2018).

References

CANCLINI, Néstor Garcia. Culturas Híbridas: estratégias para entrar e sair da modernidade. 4. ed. São Paulo: EDUSP, 2006.

DANÇA. Dicionário de ballet. Disponível em: https://danca.wordpress.com/tag/dicionario-de-ballet. Acesso em: 31 ago. 2018

FAZENDA, Maria José. As histórias que as pessoas dançam sobre si próprias: as linguagens de Jérôme Bel, Montalvo/Hervieu, Shobana Jeyasingh e Akram Khan. Lisboa: Instituto Politécnico de Lisboa, 2010. Disponível em: http://hdl.handle.net/10400.21/2580.

GEERTZ, Clifford. A Interpretação das Culturas. Rio de Janeiro: LTC,1989.

GRUZINSKI, Serge. O pensamento mestiço. São Paulo: Companhia das Letras, 2001.

HANNERZ, Ulf. Fluxos, Fronteira, Híbridos: Palavras-chave da antropologia transnacional. Revista Mana, Rio de Janeiro, v. 3, n. 1, 1997.

LOUPPE, Laurence. Poética da Dança Contemporânea. Lisboa: Orfeu Negro, 2012.

______. Corpos Híbridos. In: PEREIRA, Roberto. Lições de dança 2. Rio de Janeiro: UniverCidade Editora,2000.

PAVIS, Patrice. Dicionário de Teatro. Tradução de Jacob Guinsburg e Maria Lúcia Pereira. São Paulo: Perspectiva, 1999.

WILLIAMS, Raymond. Sociología de la cultura. Tradución de Graziella Baravalle. Supervisión de M. Gracia Cantó. Fontana: Paidós, 1981.

Published

08-05-2019

How to Cite

ZENICOLA, D. M. Skin tones: flows and frictions. Art Research Journal: Revista de Pesquisa em Artes, [S. l.], v. 5, n. 1, p. 37–46, 2019. DOI: 10.36025/arj.v5i1.13638. Disponível em: https://periodicos.ufrn.br/artresearchjournal/article/view/13638. Acesso em: 25 jul. 2024.