Narrativa ficto crítica revisitada del cuerpo y su morfología cosmogónica en la danza de la conquista

Abstract

The body has become one of the main elements of tension between power and resistance throughout history. Within this framework, in Colombia, there is a main case of study: the Dance of the Gameran Conquest, an expression that has occupied not only an important place in the historical order but also in the socio-cultural sphere, acting as an element of the interaction between territory, memory and the possibility of establishing conditions of resistance both in the geometry of the movements and in the nexus between a past time, located in a moment of tension before the Spanish presence and the challenges of a condition of permanent crisis as the present and the set of events that have shaped Gamero as a strategic scenario to make visible the ways in which corporeality can manifest itself with the power of movement and experimentation on the limits. By virtue of the above, this thesis is concerned with presenting a process of analysis based on the narratives, interviews and direct contacts with the territory in order to account for the conditions of the dance of the Gameran Conquest as a possibility of resistance to the historical conditions that have given rise to Gamero as a territory that resists both the Conquest and the attacks that, over time, have been established in the territory through the gradual emergence of Capitalism and its modes of existence. It is then a work in which, when inquiring about the rebelliousness of the bodies in movement, it also wonders about the ways in which dignity becomes part of that cosmogonic enclave that manifests itself in voices, music, dance patterns and in general, the strength of Gamero when resisting even beyond the limit of modern law. For this purpose, a fictocritical methodology is used to analyze the conditions of dance in its constitutive nature and its relationship with the stories and life histories that are linked to movement in a kind of continuum that makes visible that vision of existence and time that is entered through dance as a space of freedom from the tension to which the bodies are subjected both in the past marked by the Colony and in the present linked to capital. Thus, this thesis, while being an analytical and critical exercise, is also a tribute, a reconstruction of that form of resistance of the Gamerano that puts itself in dialogue with its history but at the same time with its future and that, in the end, presents the tension of those bodies that resist with the power of dance, the intense affections of the songs and the possibility of experimenting from that broken limit of a public space subverted by a body that frees itself by moving, by undoing itself, by participating in that inventive act that by dancing creates and by making creation, resists.