Cuerpos contemporáneos bajo el velo
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Revista Corpo-grafías, Estudios críticos de y desde los cuerpos
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Resumen Desde hace más de cuarenta años, la danza contemporánea se ha dado como tarea desarrollar las posibilidades del cuerpo mediante la experimentación de nuevas corporeidades que frustran toda codificación. En este sentido, constituye una práctica emancipadora y potencialmente subversiva: el cuerpo que baila puede convertirse en un auténtico “campo de batalla” donde se enfrentan relaciones de fuerzas e ideologías. Como lo subrayaba Michel Foucault, la opresión se ejerce siempre sobre las “fuerzas”, no sobre los “signos”. Las bailarinas y los bailarines contemporáneos tratan de hacer visibles esas fuerzas psicosociales que se ejercen sobre los cuerpos. En el campo de la danza contemporánea francesa, analizamos aquí dos creaciones recientes de los coreógrafos Héla Fattoumi y Éric Lamoureux: Manta (2009) y Lost in Burqa (2011). Estas obras, en los lindes de la danza y la performance, buscan que los intérpretes experimenten lo que el velo integral islámico hace al cuerpo en términos de situación, de modo de presencia, de percepción del tiempo y del espacio, pero igualmente buscan perturbar las representaciones que construye Occidente de la mujer velada. Ahí se inventa una poética del cuerpo que bebe de lo imaginario y lo fantasmático, una poética que interroga la relación con el cuerpo femenino que nuestras sociedades contemporáneas, orientales y occidentales, instituyen y nos imponen, en fin, una poética orientada hacia un horizonte de emancipación política.Palabras clave: danza contemporánea, cuerpo, velo, representaciones, femenino, Oriente, política. CONTEMPORARY BODIES UNDER THE VEILAbstractSince forty years, contemporary dance tries to expand the corporal possibilities by experimenting new corporealities defeating any codification. In this way, it constitutes an emancipating and potentially subversive practice, as the dancer’s body is likely to become a real “battleground” where power relations and ideologies are battling. As Michel Foucault stressed it, oppression always concentrates on “forces”, not on “signs”, and contemporary dancers try precisely to make obvious these psychosocial forces, which exert pressure on their body. In the sphere of French contemporary dance, we analyze two recent works from the choreographers Héla Fattoumi and Éric Lamoureux: Manta (2009) and lost in burqa (2011). In these works on the edge of dance and performance art, the performers experiment what the Islamic full veil makes to the body with regard to body condition, presence mode, perception of time and space. Moreover, the issue is to highlight how the performer’s body disrupts the Western representations of veiled woman. There, a corporal poetic language is invented, drawing from imagination and fantasy, a poetic language questioning the relation to female body, which the Eastern and Western societies establish and impose on us, finally, a poetic language turned to a political horizon of emancipation.Keywords: contemporary dance, body, veil, representations, female, Orient, politics. CORPOS CONTEMPORÂNEOS EMBAIXO DO VÉUResumoHá já mais de quarenta anos, a dança contemporânea foi tida como missão desenvolver as possibilidades do corpo por meio da experimentação de novas corporeidades que frustram todo o código. Neste senso, constitui uma prática emancipadora e potencialmente subversiva: o corpo pode se tornar em um autêntico campo de batalha onde eles enfrentam relações de forças e ideologias. Como Michel Foucault salientou, a opressão não é exercitada sobre as "forças", mas se exerce sempre sobre um corpo. Os dançarinos contemporâneos sabem fazer visível essas forças psicossociais que são exercidas pelos corpos. Aqui, nós analisamos as duas recentes criações dos coreógrafos no campo da dança francesa contemporânea: Héla Fattoumi e Éric Lamoureux, Manta (2009) e Lost in Burqa (2011). No que respeita a dança e a performance, estes trabalhos procuram que os intérpretes experimentam o que o véu islâmico faz em condições de situação ao corpo, de forma presencial, de percepção do tempo e do espaço, mas eles procuram igualmente perturbar as representações construídas da mulher velada no Oeste. Lá uma poesia do corpo alimentado pelo imaginário e o fantasmático, uma poesia que interroga a relação com o corpo feminino que nossas sociedades orientais e ocidentais contemporâneas eles nos impõem, seja como for, uma poesia guiada em direção um horizonte de emancipação política.Palavras-chave: dança contemporânea, corpo, véu, representações, feminino, Oeste, políticas.DES CORPS CONTEMPORAINS SOUS LE VOILERésumé Depuis plus de quarante ans, la danse contemporaine s’est donné pour tâche de développer les possibles du corps par l’expérimentation de nouvelles corporéités déjouant toute codification. À cet égard, elle constitue une pratique émancipatrice et potentiellement subversive, le corps du danseur pouvant devenir un véritable « champ de bataille » où s’affrontent rapports de forces et idéologies. Comme le soulignait Michel Foucault, l’oppression porte toujours sur les « forces », non sur les « signes » et ce sont les forces psycho-sociales qui s’exercent sur les corps que les danseuses et les danseurs contemporains tentent de rendre visibles. Dans le champ de la danse contemporaine française, nous analysons ici deux créations récentes des chorégraphes Héla Fattoumi et Éric Lamoureux : Manta (2009) et Lost in burqa (2011). Dans ces œuvres aux lisières de la danse et de la performance, il s’agit pour les interprètes d’expérimenter ce que le voile intégral islamique fait au corps en termes d’état, de mode de présence, de perception du temps et de l’espace, mais aussi de perturber les représentations que l’Occident se fait de la femme voilée. Là, s’invente une poétique du corps puisant dans l’imaginaire et le fantasmatique, une poétique qui interroge le rapport au corps féminin que nos sociétés contemporaines, orientales et occidentales, instituent et nous imposent, enfin, une poétique tournée vers un horizon d’émancipation politique. Mots clés: danse contemporaine, corps, voile, représentations, féminin, Orient, politique.
ince forty years, contemporary dance tries to expand the corporal possibilities by experimenting new corporealities defeating any codification. In this way, it constitutes an emancipating and potentially subversive practice, as the dancer’s body is likely to become a real “battleground” where power relations and ideologies are battling. As Michel Foucault stressed it, oppression always concentrates on “forces”, not on “signs”, and contemporary dancers try precisely to make obvious these psychosocial forces, which exert pressure on their body. In the sphere of French contemporary dance, we analyze two recent works from the choreographers Héla Fattoumi and Éric Lamoureux: Manta (2009) and lost in burqa (2011). In these works on the edge of dance and performance art, the performers experiment what the Islamic full veil makes to the body with regard to body condition, presence mode, perception of time and space. Moreover, the issue is to highlight how the performer’s body disrupts the Western representations of veiled woman. There, a corporal poetic language is invented, drawing from imagination and fantasy, a poetic language questioning the relation to female body, which the Eastern and Western societies establish and impose on us, finally, a poetic language turned to a political horizon of emancipation.
ince forty years, contemporary dance tries to expand the corporal possibilities by experimenting new corporealities defeating any codification. In this way, it constitutes an emancipating and potentially subversive practice, as the dancer’s body is likely to become a real “battleground” where power relations and ideologies are battling. As Michel Foucault stressed it, oppression always concentrates on “forces”, not on “signs”, and contemporary dancers try precisely to make obvious these psychosocial forces, which exert pressure on their body. In the sphere of French contemporary dance, we analyze two recent works from the choreographers Héla Fattoumi and Éric Lamoureux: Manta (2009) and lost in burqa (2011). In these works on the edge of dance and performance art, the performers experiment what the Islamic full veil makes to the body with regard to body condition, presence mode, perception of time and space. Moreover, the issue is to highlight how the performer’s body disrupts the Western representations of veiled woman. There, a corporal poetic language is invented, drawing from imagination and fantasy, a poetic language questioning the relation to female body, which the Eastern and Western societies establish and impose on us, finally, a poetic language turned to a political horizon of emancipation.
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contemporary dance, body, veil, representations, female, Orient, politics, danza contemporánea, cuerpo, velo, representaciones, femenino, oriente, política