Abstract
This chapter examines how contemporary dance enabled intersecting forms of artistic, social, and political mobility in the midst of rapid change that marked 1960s Buenos Aires. It demonstrates how influential choreographers Ana Kamien and Susana Zimmermann translated the artistic and social mobilities that dance afforded in the first half of the decade into critique of de facto president Juan Carlos Onganía’s repressive military government in their concert works and innovative creation processes in the late 1960s. The chapter first focuses on how these choreographers developed their early careers through new cultural organizations and institutions that emerged in the early 1960s, including the Friends of Dance Association (Asociación Amigos de la Danza) and the Torcuato Di Tella Institute (Instituto Torcuato Di Tella). The second half of the chapter examines two works that responded to the climate of repression under Onganía: Zimmermann’s Polymorphias (1969) and Kamien’s eponymous Ana Kamien (1970).
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