Variations of Nationalist Feeling
A Problematic For Decentered Dance Studies in Latin America
DOI:
https://doi.org/10.5216/ac.v7i1.69382Abstract
Over the course of the 20th century, a particular concept of the nation was consolidated in Latin America as a cultural unity, determined by a centralized power, and broadly diffused in order to inculcate a feeling of belonging among the masses. Based on two case studies– the cofounders of the Ballet Nacional de Cuba (Alicia, Fernando and Alberto Alonso) and a Colombian folkloric duo of the 1960s (Los Darof, formed by Ofelia Betancur and Darío Arboleda) – we intend to highlight expressions of nationalistic feeling in stage dance as linked to the appropriation of gestures from other locales, a process that transcended limits imposed by geopolitical tensions. In order to decenter our historical regard, instead of adopting a singular focus on nationalism, we take into account that which the artists’ speeches and practices suggest on the issue : that is, that there was wide variability in nationalist feeling rooted in each artist’s particular gestural project.
Downloads
References
ACHERES, Victoria. Les Lettres Françaises, París, 10 de noviembre de 1966. In: ALONSO, Alicia. Dossier de artista. Biblioteca-Museo de la Ópera Nacional de París.
Aclamados internacionalmente, ignorados en Colombia. 1966. In: Archivos privados de la familia Arboleda Betancur, París-Bogotá.
ALONSO, Fernando. Ponencia presentada al Congreso Continental de Cultura, celebrado en Santiago de Chile en abril de 1953, y que fuera leída en el pleno por el poeta Nicolás Guillén. In: CABRERA, Miguel, El Ballet en Cuba. Apuntes históricos. La Habana: Cúpulas, 2011. 322-326.
ALONSO, Alicia. Performing Giselle. In: PAYNE, Charles (dir.). American Ballet Theatre. New York: Alfred A. Knopf, 1978. 333-342.
ALONSO, Alicia. Entrevista con Marilyn Hunt. New York: Jerome Robbins Dance Division-The New York Public Library, 19-21 de noviembre de 1977. Disponible en: http://digitalcollections.nypl.org/items/677baa70-b30c-0133-2652-3c07547a230f. Accedido: 25 de octubre de 2020.
ALONSO, Alicia. Dossier de documentos 1966-2010. Pantin: Mediateca del CND.
ALONSO, Alicia. Giselle, la leyenda. Iberautor, libro y 2 DVD, 2005.
ALONSO, Alberto. Entrevista. In: CABRERA, Miguel, El Ballet en Cuba. Apuntes históricos. La Habana: Cúpulas, 2011. 322-326.
ARBOLEDA ITURREGUI, Darío. Mi Pasión por la Danza (memorias). Inédito. Archivo familiar Arboleda Betancur.
BETANCUR RUEDA, Ana Ofelia. Del Naufragio hacia la Orilla. Bogotá: Editorial Exitos, 2015.
BETANCUR RUEDA, Ana Ofelia. Entrevista con Iván Jiménez y Francisco Arboleda, Bogotá, 7 y 8 de abril de 2017.
BLOCH, Gilbert. Une inoubliable Giselle: Alicia Alonso. L’Humanité, París, 5 de noviembre de 1966. In: ALONSO, Alicia. Dossier de artista. Biblioteca-Museo de la Ópera Nacional de París.
CARRERA Dino (ed.). Antes del alba: un ballet precursor (1947-2017). La Habana, Ediciones Cuba en el Ballet, 2017.
DELOUCHE, Dominique. Markova, la légende (documental). París: Les Films du Prieuré, 2002.
HIRSCH, Georges. Alicia Alonso et le Ballet national cubain. Carrefour, París, 9 de noviembre de 1966. In: ALONSO, Alicia. Dossier de artista. Biblioteca-Museo de la Ópera Nacional de París.
MAGGIE, Dinah. Une grande Giselle. Combat, 4 de noviembre de 1966. In: ALONSO, Alicia. Dossier de artista. Biblioteca-Museo de la Ópera Nacional de París.
MERLIN, Olivier. Le Ballet national de Cuba au Theâtre des Champs Elysées. Le Monde, París, 4 de noviembre de 1966. In: ALONSO, Alicia. Dossier de artista. Biblioteca-Museo de la Ópera Nacional de París.
SOTOMAYOR, Jaime. Primeros en bailar bambuco en la Patagonia. El vespertino, 14, 20 de junio de 1966. In: Archivos privados de la familia Arboleda Betancur, París-Bogotá.
PLISSETSKAÏA, Maya. Moi, Maïa Plissetskaïa. Tr. DENIS, Lily. París: Gallimard, 1995.
YEPES LEMA, José. Pareja de Bailarines de Colombia con Nombre Ruso. 1968. In: Archivos privados de la familia Arboleda Betancur, París-Bogotá.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Iván Jiménez
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
The Art on Stage Journal uses the Creative Commons - Attribution-Non-Commercial 4.0 International license as a basis for transferring rights, for open access journals (Open Archives Initiative - OAI).
Authors who publish in this journal agree with the following terms:
1) Authors retain the copyright and grant the Art on Stage Journal the right to first publication, with the work simultaneously licensed under the Creative Commons Attribution Non Commercial License.
2) Authors are authorized to assume additional contracts separately, for non-exclusive distribution of the version of the work published in this Journal (eg, publishing in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
3) Authors are allowed and encouraged to publish and distribute their work online (eg in institutional repositories or on their personal page) at any point before or during the editorial process, provided that the reference to the place of publication is cited, that is, the electronic address / reference of Art on Stage Journal.
4) The authors of the works published in the Art on Stage are expressly responsible for their content.
5) Authors will not be paid for publication of works in the Art on Stage Journal.
