Dancers against time
anachronism in historical knowledge in dance: the case of Abrir Danza Abierta (2023)
DOI:
https://doi.org/10.5216/ac.v11i1.81729Abstract
This work aims to analyze the links between dance and history based on the critical genealogy postulated by Georges Didi-Humberman (2008) as an exercise on the crisis of the work of art as an object, as understood by art history and the models of time it establishes to configure its own historicity. Starting from the need to rethink the values of the use of time that characterized art history as a humanistic discipline, the author affirms the urgency of restoring anachronism, in its capacity to assemble heterogeneous times, as a condition for accounting for the discontinuity that constitutes all historical time. From this perspective, we will approach the stage proposal Abrir Danza Abierta (2023) as a way of revisiting? reconstructing? replacing? de-archiving? part of the choreographies that made up the legendary Danza Abierta cycle, held annually in November and December from 1981 to 1983 in different cities in Argentina. The collective artistic intervention, presented forty years after the last year of the cycle, draws on the biographical and physical archives of the choreographers and performers who participated at the time to create, through their memories, a way of accessing the past. Apertura Danza Abierta makes anachronism its main operation: in it, opening means tearing, piercing time, and with it, what made us assume that Danza Abierta was a total.
Downloads
References
BAL, Mieke. Tiempos trastornados. Análisis, Historias y Políticas de la mirada. Murcia: Akal, 2016
BORGES, Jorge Luis. Jorge Luis Borges. Obras Completas Buenos Aires, Emecé, 1974 (1969)
BURT, Ramsay. “Memory, Repetition and Critical Intervention: The Politics of Historical Reference in Recent European Dance Performance” en Performance Research Londres: Routledge Vol. 8 N°2 pp. 34-41, 2003
DIDI-HUBERMAN, Georges. Ante el tiempo. Historia del arte y anacronismo de las imágenes. Buenos Aires: Adríana Hidalgo Editora, 2008.
FOUCAULT, Michael. “Nietzsche, la généalogie, l’histoire”, Dits et écrits 1954-1988, II, 1970-1975, D.Defert et F. Ewald, Paris, Gallimard, 1994 [1971], pp. 147-148.
LEPECKI, André . “El cuerpo como archivo, el deseo de recreación y las supervivencias de las danzas” en Isabel de Naverán y Amparo Écija (comps) Lecturas sobre Danza y Coreografía. Madrid: Artes Escénicas, 2012.
TACCETTA, Natalia Roberta. “Reescrituras afectivas: Entre archivo, imagen y colección” en Revista Diferencia(s) Buenos Aires, 2020, Vol I, N° 10. pp. 89-100. Disponible en: https://ri.conicet.gov.ar/bitstream/handle/11336/169897/CONICET_Digital_Nro.4030d815-546a-408b-bcb8-d6fcd5961afe_B.pdf?sequence=2&isAllowed=y
TAMBUTTI, Susana. Abrir danza abierta | Susana Tambutti. Buenos Aires: 2023. Disponible en: https://www.youtube.com/watch?v=L7P6u0ZpDzg&t=1s. Consultado el: 14 de febrero de 2025.
ROZITCHNER, León Freud y los límites del individualismo burgués Buenos Aires: Biblioteca Nacional, 2013 [1972].
VALLEJOS, Juan Ignacio. “El cuerpo-archivo y la ilusión de la reconstrucción: el caso de la Consagración de la Primavera de Dominique Brun” en Escribir las danzas. Coreografías de las ciencias sociales, Buenos Aires: Editorial Gorla, 2015.
Downloads
Published
Versions
- 2025-09-13 (2)
- 2025-09-02 (1)
How to Cite
Issue
Section
License
Copyright (c) 2025 Irene de la Puente
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.
