Dance, Protest, and Disidentification: A Political-Choreographic Theory of 2001
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Abstract
This article will analyze the Argentine contemporary dance works Recorte de Jorge Cárdenas Cayendo (2017), created by Compañía Terceto and directed by Juan Pablo Gómez, and Instrumento para estrellar (2018), by choreographer Diana Szeinblum, in a dialogue with concepts of political theory and dance theory. These works take images and movement sequences from the December 2001 demonstrations and other Latin American popular uprisings to propose different modes of choreographic theorization of the political event. If, as Rancière states, political subjectivation presupposes a prior instance of disidentification, the thesis proposed in this article is that this instance corresponds to the agency of a body in movement. The social uprising can thus be understood as a collective choreographic experience of disidentification that is capable of enabling the historical emergence of a new political subject.
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