EMBARRAR EL CANON
por una coreopolítica de la abundancia
DOI:
https://doi.org/10.5216/ac.v6i2.66637Abstract
This article analyzes the functionality of the canon, understood as an apparatus of artistic subjectivation, in peripheral contemporary dance. After an introduction of ethnographic cases from the field of dance in Buenos Aires, the work focuses on the discussion of operative concepts such as the canon, progress, modernism, movement and nationalism. Ultimately, it aims to conceive the contributions of Néstor Perlongher's concept of the muddy baroque and of José Esteban Muñoz's disidentification, as political and aesthetic strategies of subversion of the canon. To strive for a choreopolitics of abundance is to understand art, particularly when it involves the body in movement, as a field for the construction of new forms of life.
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