Le miroir éclaté/A dança do existir. Altérité coloniale et violence de l’identité dans un solo de Vera Mantero

Dans cet essai, je me propose d’analyser le solo A Dança do Existir (1995) de Vera Mantero, chorégraphe portugaise, en montrant qu’il est une intervention culturelle dans la mémoire postcoloniale portugaise. La lecture des usages d’immobilité, du montage sonore et des déplacements chorégraphiques dans la pièce de Mantero permet d’examiner les notions d’« anesthésie culturelle » (Allen Feldman) et d’« actions immobiles » (Nadia Seremetakis) par rapport aux formations culturelles de la violence et de l’altérité dans la modernité européenne.The essay analyzes a solo by Portuguese choreographer Vera Mantero (A Dança do Existir, 1995) as a cultural intervention in contemporary Portuguese post-colonial memory. Reading Mantero’s uses of stillness, sonic montage, and choreographic displacements, enables us to discuss notions of « cultural anesthesia » (Allen Feldman) and of « still acts » (Nadia Seremetakis), in regards to the cultural formations of violence and otherness within European modernity

Crisis and the emotional body : Towards (another) freedom

In his analysis of the recent European crisis, Franco 'Bifo' Berardi (2012) looks beyond its economic causes and implications and theorises the role played by poetry and the emotional body in rediscovering the relationship between language and desire and reopening the possibility of social solidarity. Drawing on Félix Guattari’s (1995) reflections on the correlation between singular refrain and universal chaos in the reinvention of subjectivity, Berardi conceptualises rhythm as a poetic feature which can contribute to restoring our ability to conjoin with other singularities and with our social and cosmic environment. This article considers how a close engagement with rhythmical, repetitive and cyclical performative practices in examples of recent European choreography may offer ways of responding to today’s crisis of social cohesion, reimagining channels of intensive communication. In particular, the article looks at works by the Italian artist Alessandro Sciarroni (Folk-s, will you still love me tomorrow?, 2012 and Chroma_don’t be frightened of turning the page, 2017) and by the London-based duo Igor and Moreno (Idiot-Syncrasy, 2013) and discusses how, in revisiting elements of folk traditions, they mobilise their potential as formal, semantic and affective modalities that can sustain a reconfiguration of social freedom

Stolen Voices Is a Slowly Unfolding Eavesdrop on the East Coast of the UK

Stolen Voices is a research enquiry that uses listening as both methodology and material. Stolen Voices develops techniques for ‘listening in’ and eavesdropping to help articulate an epistemology of place through sonic frameworks. A core motivation for the listening is a semi-fictional story we tell ourselves (and anyone else who is listening): an ‘event’ has taken place along the East Coast of the United Kingdom (UK), and we have been tasked with figuring out what has happened. While the specifics of the event might be difficult to pin down, the urgency of the investigation is fuelled by concrete concerns found in the UK edgelands, at the border/margin of the country: the uncertain future of the UK’s relationship with Europe; the effects of climate change on coastal landscapes; the waning of industries like manufacturing and coal extraction; the oil industry in crisis; the rise of global shipping infrastructures. By using a semi-fictional framework, we move away from mapping techniques like data-sonification towards a methodology that embraces gaps and inventive excesses while insisting on the importance of making an account. Through listening, we foster attention to contingencies and indeterminacies and their relationships to prevailing structures and knowledge hierarchies. Stolen Voices asks: what is the relationship between a listener and what is heard? How can listening attune us to the complexities of contemporary political, economic, ecological and social processes? How did we get to where we are now, and how, through listening, can we seek out levers for change? What do the rhythms and atmospheres of specific geographic locations inform or reveal about history? Evolving over several years, in response to what we hear, the investigation necessarily proceeds slowly. In this article, we unfold our methodological processes for the detection of sound, voices, atmosphere and affect. We use creative-critical writing to evidence the construction of a research investigation focused on the act of listening as a spatial practice and necessarily collective endeavour

Coreo-política e coreo-polícia

A partir da recente ênfase em filosofia política (Rancière; Agamben) da relação ontologica entre estética e política, se analisa a possibilidade de uma pensar coreográfico dissensual no urbano contemporâneo. Exemplos incluem os movimentos de ocupação de praças e ruas nos últimos 18 meses (Tahir; Wall Street entre outros); a performance art de Tania Bruguera e William Pope.L; e a dança TURF, em Oakland, California. Avança-se o conceito de coreo-polícia, a partir das propostas de Jacques Rancière sobre o conceito de "police.

9 variações sobre coisas e performance

Observado uma proliferação de uso de coisas, objetos, tralha em vários trabalhos de dança experimental e performance art recentes, proponho nove teses preliminares sobre tal fenômeno. Partindo do conceito de “dispositif” em Giorgio Agamben, e da sua expansão para lá dos limites com os quais Michel Foucault o havia definido, foco em como Agamben diagnostica uma onipotência no cerne do dispositif e que determina a subjetividade contemporânea como essencialmente subjugada ao jugo de objetos-dispositifs. Extraio desta noção, por via da obra de Fred Moten em estudos da performance e estudos críticos de raça, a necessidade de um movimento de co-liberação de sujeitos e objetos desse modo de sujeição ao dispositif. Com Karl Marx e Guy Débord, associo essa liberação a uma rejeição do objeto como dispositif-mercadoria, e procuro a afirmação objetiva-subjetiva da coisa. Invocando um paralelo com o devir-animal que alguma dança e performance buscam desde os anos 1960, proponho um devir-coisa na dança e performance recente, onde tanto objetos como sujeitos se libertam do jugo do dispositif-mercadoria e de noções de instrumentalização. Neste devir-coisa na dança, as teorias de Mario Perniola e Silvia Benso são fundamentais