EMBARRAR EL CANON

por una coreopolítica de la abundancia

Authors

DOI:

https://doi.org/10.5216/ac.v6i2.66637

Abstract

This article analyzes the functionality of the canon, understood as an apparatus of artistic subjectivation, in peripheral contemporary dance. After an introduction of ethnographic cases from the field of dance in Buenos Aires, the work focuses on the discussion of operative concepts such as the canon, progress, modernism, movement and nationalism. Ultimately, it aims to conceive the contributions of Néstor Perlongher's concept of the muddy baroque and of José Esteban Muñoz's disidentification, as political and aesthetic strategies of subversion of the canon. To strive for a choreopolitics of abundance is to understand art, particularly when it involves the body in movement, as a field for the construction of new forms of life.

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Author Biography

Juan Ignacio Vallejos, Universidad de Buenos Aires, Buenos Aires, Argentina

Doctor en Historia por la EHESS de Paris y master en Ciencias Sociales por la misma universidad. Publicó numerosos artículos en revistas académicas y contribuyó a varias obras colectivas sobre teoría e historia de la danza. Es coordinador del Área de Investigaciones en Artes Performáticas del Instituto de Artes del Espectáculo de la UBA, investigador adjunto del CONICET y es integrante del grupo Descentradxs - Descentrar la Investigación en Danza.

Obra Cartografías Porteñas da Compañía Danza Sin Fronteras. Créditos: Ale Carmona

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Published

2020-12-26

How to Cite

VALLEJOS, J. I. EMBARRAR EL CANON: por una coreopolítica de la abundancia. Art on Stage Journal, Goiânia, v. 6, n. 2, p. 7–37, 2020. DOI: 10.5216/ac.v6i2.66637. Disponível em: https://revistas.ufg.br/artce/article/view/66637. Acesso em: 17 jul. 2024.

Issue

Vol. 6 No. 2 (2020): Decentering Dance Research

Section

Dossiê Temático - Eixo 1: Manifestos Descentrados

License

Copyright (c) 2020 Juan Ignacio Vallejos

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