Paloma Bianchi’s Choreographic Work Hacia as a Practice of Amerindian Perspectivism

Diana Delgado-Ureña Díez

doi:10.1590/2237-2660102528

Abstract

ABSTRACT This text analyzes Hacia (2019) as a critical choreographic device facing the problem of disenchantment of the world derived from the separation between nature and culture inherited from Modernity/coloniality. Hacia puts into practice two notions of Amerindian perspectivism: one that recognizes the relational agency of all entities in the world; and another which raises knowledge as a process of subjectivation that implies bodily, sensory and imaginative dimensions. This analysis proposes a dialogue between the areas of anthropology and contemporary performing arts creation in Brazil.

Highlights

RÉSUMÉ – La Pièce Chorégraphique Hacia de Paloma Bianchi comme Pratique du Perspectivisme Amérindien – Cet article étude Hacia comme dispositif chorégraphique face au problème du désenchantement du monde issu de la séparation entre nature et culture héritée de la modernité/colonialité
If choreography is considered as writing movement patterns, this piece works as a choreographic inscription in the audience that, beyond the route through which it conducts the bodies, appeals to their sensory and imaginative capacities
The idea that Rosa suggests has to do with thinking the world in terms of resonance, questioning our forms of relationship with everything that surrounds us, giving value to other modes of interaction that could be incorporated from critical reviews of the separation between nature and culture. This reconsideration of what is nature and what is culture has been proposed by the field of anthropology since the 1990s, long after the accounts of fieldwork with indigenous peoples had clearly indicated that the ways of interaction of these communities with other beings and territories were different from Western ways

Summary

Hacia as a Practice of Amerindian

ABSTRACT – Paloma Bianchi’s Choreographic Work Hacia as a Practice of Amerindian Perspectivism – This text analyzes Hacia (2019) as a critical choreographic device facing the problem of disenchantment of the world derived from the separation between nature and culture inherited from Modernity/coloniality. The idea that Rosa suggests has to do with thinking the world in terms of resonance, questioning our forms of relationship with everything that surrounds us, giving value to other modes of interaction that could be incorporated from critical reviews of the separation between nature and culture This reconsideration of what is nature and what is culture has been proposed by the field of anthropology since the 1990s, long after the accounts of fieldwork with indigenous peoples had clearly indicated that the ways of interaction of these communities with other beings and territories were different from Western ways. In our context, is accessible in the environment of artistic exchange and, for the audience, it becomes a sensory and imaginative experience Assuming this approach and putting it into practice as a spectator meant for me to understand that the work presents an interruption, a state of suspension, a way of being hacia (towards) as a precondition for making effective the power of the situation in its relational dimension

The Invitation of Hacia

Sustaining the Suspense

The Generation of Frameworks

Hacia as a Practice of Subjectivation