Paloma Bianchi’s Choreographic Work Hacia as a Practice of Amerindian Perspectivism

Autores

  • Diana Delgado-Ureña Díez Universidad Zaragoza

Palavras-chave:

Choreography, Amerindian Perspectivism, Subjectivation Processes, Relationship Modes, Corporeality

Resumo

This text analyzes Hacia (2019) as a critical choreographic device facing the problem of disenchantment of the world derived from the separation between nature and culture inherited from Modernity/coloniality. Hacia puts into practice two notions of Amerindian perspectivism: one that recognizes the relational agency of all entities in the world; and another which raises knowledge as a process of subjectivation that implies bodily, sensory and imaginative dimensions. This analysis proposes a dialogue between the areas of anthropology and contemporary performing arts creation in Brazil.

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Biografia do Autor

Diana Delgado-Ureña Díez, Universidad Zaragoza

Doctoranda en Filsofía y Humanidades bajo la dirección de Victoria Përez Royo profesora de Estética de la Universidad de Zaragoza. 

Coordinadora del Máster en Práctica Escénica y Cultura Visual. Universidad de Castilla la Mancha con la colaboración del Museo Reina Sofía. 

Miembro de la asociación de investigación y creación en artes escénicas ARTEA

Publicado

2021-04-12

Como Citar

Díez, D. D.-U. (2021). Paloma Bianchi’s Choreographic Work Hacia as a Practice of Amerindian Perspectivism. Revista Brasileira De Estudos Da Presença, 11(2), 01–20. Recuperado de https://seer.ufrgs.br/index.php/presenca/article/view/110556

Edição

Seção

Performance e Antropologia