Dance and democracy

Authors

DOI:

https://doi.org/10.34629/rcdmt.vol.1.n.1.pp65-75

Keywords:

Democracy, Art, Market, Artistic

Abstract

What kind of connection is this between art and democracy? Throughout the article, some points are enunciated that try to elucidate ways of linking art and democracy. Knowing that the term, democracy, itself must be thought of in its origin and in its formalizations in art over time, the challenge in contemporary times is to dismantle systems where democracy is masked. Everything that involves the logic of the market where art is found, translates systems of consensus that, as Rancière points out, suppresses politics, whereas politics for the philosopher is dissense. Dissense or a fundamental deviation that also deserves to be analyzed as an opposition to consensus in arte and art as a market object. The artistic, like the political or the aesthetic, becomes the necessary object to think about art through art, that is, independently of the state in which it is.

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Author Biography

  • Maria Manuela Oliveira Barros, Instituto de Filosofia da U.P./ESAP/Balleteatro

    Né Barros is a choreographer and researcher, throughout her career she has developed her artistic work at the intersection of her academic studies and research. She holds a PhD in Dance (FMH, UTL), a Master of Arts in Dance Studies at the Laban Center (City University, London) and a researcher at the Institute of Philosophy in the Group on Aesthetics, Politics and Knowledge (UP), where she completed a post-doctorate. She began her training in classical dance and later worked in contemporary dance and choreographic composition in the United States at Smith College. She studied theater (Esap). As a choreographer, she has collaborated with several visual artists, photographers, musicians, directors, directors, multimedia artists. In addition to Balleteatro, the structure she directs and founded, she has worked with Companhia Nacional de Bailado (awarded Best Choreography), Ballet Gulbenkian and Aura Dance Company. She has published several articles and is the author of the books Performances e Post-Phenomenologia, Da Materialidade na Dança, Dança: corpo e casa, and editor of Performances no Contemporâneo, Dislocations da Intimidade, Performing Arts: Novos Discursos, Das Imagens Familiares, Story Case print (2009) and Metamorphoses of Feeling. She is co-director of the Aesthetics and Politics and Art and War Machines collections, published by FLUP. She is a professor at ESAP and a guest at several institutions. Co-founder of Balleteatro and artistic director of the Family Film Project - International Film Festival of Archives, Memory, Ethnography.

References

Barros, Né. 2009. Da Materialidade na Dança. Porto: Centro de Estudos Arnaldo Araújo.

Misler, Nicoletta. 1999. In Principio Era Il Corpo…: L’Arte Del Movimento a Mosca Negli Anni ‘20. Catalogo Della Mostra Tenuta a Roma Nel 1999. Milano: Electa.

Perniola, Mario. 2000. “Il Fascino Discreto Delle Merci.” Ágalma: Rivista Di Studi Culturali e Di Estetica 1.

_________. 2012. “Presa Direta. Estetica e Politica. Da Nietzsche a Breivik.” Ágalma: Rivista Di Studi Culturali e Di Estetica 24.

Rancière, Jacques. 2010. Dissensus: On Politics and Aesthetics. Edited and Translated by Steven Corcoran. New York: Continuum International Publishing Group.

Serres, Michel. 1985. “Il Balletto d’Alba.” Alfabeta 78.

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Published

2022-07-25

Issue

Vol. 1 No. 1 (2022)

Section

Articles

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How to Cite

Dance and democracy. (2022). RHINOCERVS: Cinema, Dança, Música, Teatro, 1(1), 65-75. https://doi.org/10.34629/rcdmt.vol.1.n.1.pp65-75