Transient Bodies in Hard Topographies: a guide for life together in Raimund Hoghe's Sans-titre

Gustavo Vicente

doi:10.1590/2237-2660102073

Abstract

ABSTRACT This paper argues that Sans-titre, by the choreographer Raimund Hoghe (2009), proposes that it is through a movement of release from the static forces of cultural representation that the subject may become closer to others as humans. In other words, the subject may thus build a relationship based on ethics. The analysis draws on a subjective interpretation that unfolds according to the narrative sequence of the performance, therefore trying to free itself from the neutral (and potentially simplistic) look commonly associated with traditional academic models, while at the same time raising new critical possibilities around reception aesthetics.

Highlights

RÉSUMÉ – Corps transitoires dans topographies rigides: un guide pour le vivre ensemble dans Sans-titre, de Raimund Hoghe – Dans cet article, je soutiens que Sans-titre, du chorégraphe Raimund Hoghe (2009), conduit à l’idée que c’est à travers un mouvement de libération des forces statiques de représentation culturelle que le sujet peut s’approcher des autres, en tant qu’être humaines – c’est-à-dire, construire une relation basée sur l’éthique
Prologue In Sans-titre, 20092, the German creator Raimund Hoghe3 joined Congolese choreographer and dancer Faustin Linyekula4 for what initially appeared to be a confrontation between contrasting geographies and corporealities, raising the highly current issues of cultural belonging, exile and social exclusion – regular topics for both artists throughout their careers
Raimund and Faustin seemed to be freeing themselves from their patterns of constructed identity, opening up to the inquiring spirit of their moving bodies

Summary

Introduction

RÉSUMÉ – Corps transitoires dans topographies rigides: un guide pour le vivre ensemble dans Sans-titre, de Raimund Hoghe – Dans cet article, je soutiens que Sans-titre, du chorégraphe Raimund Hoghe (2009), conduit à l’idée que c’est à travers un mouvement de libération des forces statiques de représentation culturelle que le sujet peut s’approcher des autres, en tant qu’être humaines – c’est-à-dire, construire une relation basée sur l’éthique. With no movement to destabilise their fixed image of themselves, the bodies are open to the symbolic reading of their physical aspects, taking my gaze into the world of preconceived ideas about their geographical origins, cultural patterns, social stigmas and other contingencies normalised by the forces of collective representation.

Results

Conclusion