Quando os lugares importam:

provincializando o "global"

Autores

DOI:

https://doi.org/10.58786/rbed.2022.v1.n1.53409

Palavras-chave:

colonialismo, saber local, provincializar a dança

Resumo

Na primeira edição do livro “Rethinking dance history: a reader” (Repensando a história da dança: uma leitura), Alexandra Carter discutiu a necessidade de novas histórias na história da dança. Em particular, ela destacou a importância de ir além das narrativas lineares com pontos finais claros no tempo presente. “Nossas histórias podem acomodar atividades que não parecem contribuir de nenhuma maneira óbvia para o 'desenvolvimento' da forma de arte, mas, em seu tempo, foram uma parte vital dela”. (Carter, 2004, p. 13) Como historiadores da dança, a crítica de Carter nos ajuda a reconhecer que escrever sobre a história da dança é importante, mesmo quando não valida os gostos e ideias artísticas de hoje. Isso sugere que as investigações podem ser ainda mais urgentes, uma vez que pode nos ajudar a superar os preconceitos de nosso próprio tempo.

Biografia do Autor

Emily Wilcox, William & Mary University

Emily Wilcox é especialista em estudos culturais da China moderna e contemporânea, com foco na dança e performance art. Ela é autora de ”Revolutionary Bodies: Chinese and the Socialist Legacy” (University of California Press, 2019, vencedora do Prêmio de la Torre Bueno) e co-editora de “Corporeal Politics: Dancing East Asia” (University of Michigan Press 2020). Publicou vários artigos e capítulos de livros sobre dança e performance na Ásia e é ex-presidente da Association for Asian Performance. Em 2014-15, ela recebeu uma bolsa de humanidades do American Council of Learned Societies. Em 2016-17, ela recebeu uma bolsa de estudos transregional do Social Science Research Council Transregional Research.

Referências

APPADURAI, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.

BROWN, Wendy. Undoing the Demos: Neoliberalism’s Stealth Revolution. New York: Zone Books, 2015.

CARTER, Alexandra. Destabilising the Discipline: Critical Debates about History and Their Impact on the Study of Dance. In: CARTER, Alexandra (ed.). Rethinking Dance History: A Reader, London: Routledge, 2004, pp. 10–19.

Chakrabarty, Dipesh. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton: Princeton University Press, 2000.

______. In Defense of Provincializing Europe: A Response to Carola Dietze. History and Theory, 47:1, 2008, pp. 85–96.

CHATTERJEA, Ananya. On the Value of Mistranslations and Contaminations: The Category of “Contemporary Choreography” in Asian Dance. Dance Research Journal, 45:1, 2013, pp. 4–21.

CHEN,Ya-Ping. Dance History and Cultural Politics: A Study of Contemporary Dance in Taiwan, 1930s–1997. PhD dissertation. New York University, New York, 2003.

______. In Search of Asian Modernity: Cloud Gate Dance Theatre’s Body Aesthetics in the Era of Globalisation.’ In: BUTTERWORTH, Jo; WILDSCHUT, Liesbeth (eds.) Contemporary Choreography: A Critical Reader, London: Routledge, 2009, pp. 316–330.

CROFT, Clare. Dancers as Diplomats: American Choreography in Cultural Exchange. New York: Oxford University Press, 2015.

DALBY, Simon. “Global” Geopolitics. In: COX, Kevin R.; LOW, Murray; ROBINSON, Jennifer (eds.). The SAGE Handbook of Political Geography. London: SAGE, 2008, pp. 427–437.

DIRLIK, Arif. Asia Pacific Studies in an Age of Global Modernity. In: WESLEY-SMITH, Terence; GOSS, Jon (eds.). Remaking Area Studies: Teaching and Learning across Asia and the Pacific, Honolulu: University of Hawai’i Press, 2010, pp. 5–23.

EZRAHI, Christina. Swans of the Kremlin: Ballet and Power in Soviet Russia. Pitts- burgh: University of Pittsburgh Press, 2012.

FENG, Shuangbai; LIU, Chunxiang; LUO, Xin. (eds.) Zhongguo wudaojia da cidian [Comprehensive Dictionary of Chinese Dance Artists]. Beijing: Zhongguo wenlian chuban she, 2006.

GERDES, Ellen. Shen Wei Dance Arts: Chinese Philosophy in Body Calligraphy. Dance Chronicle, 33:2, 2010, pp. 231–250.

GIERSDORF, Jens Richard. The Body of the People: East German Dance Since 1945. Madison: University of Wisconsin Press, 2013.

GUO, Mingda. Yi ge wudao yishu jiaoyu xin tixi de niyi [A Proposal for a New System of Dance Education]. Wudao tongxun [Dance News] 12, 1956, pp. 12–14.

GUPTA, Akhil; FURGESON, James. (eds). Culture, Power, Place: Explorations in Critical Anthropology. Durham, NC: Duke University Press, 1997a.

______. Anthropological Locations: Boundaries and Grounds of a Field Science. Berkeley: University of California Press, 1997b.

INDA, Jonathan Xavier; ROSALDO, Renato. The Anthropology of Globalization: A Reader. Malden, MA: Blackwell Publishers, 2002.

KAPLAN, Amy. “Left Alone with America”: The Absence of Empire in the Study of American Culture.’ In: KAPLAN, Amy; PEASE, Donald (eds.) Cultures of United States Imperialism. Durham: Duke University Press, 1993, 3–21.

KEALI’INOHOMOKU, Joann Wheeler. An Anthropologist Looks at Ballet as a Form of Ethnic Dance. In: COPELAND, Roger; COHEN, Marshall (eds.) What Is Dance?, Oxford: Oxford University Press, (1983[1969–70]), pp. 533–549.

KLEIN, Christina. Cold War Orientalism: Asia in the Middlebrow Imagination, 1945–1961. Berkeley: University of California Press, 2003.

KOWAL, Rebekah J. How to Do Things With Dance: Performing Change In Postwar America. Middletown, CT: Wesleyan University Press, 2010.

KWAN, SanSan. Choreographing Chineseness: Global Cities and the Performance of Ethnicity.’ PhD dissertation. New York University, New York, 2003.

______. Jagged Presence in the Liquid City: Choreographing Hong Kong’s Handover. In: LEPECKI, André; JOY, Jenn. (eds.) Planes of Composition: Dance, Theory, and the Global, London: Seagull Books, 2009, pp. 11–20.

_____. Kinesthetic City: Dance and Movement in Chinese Urban Spaces. New York: Oxford University Press, 2013.

LIN, Yatin. Choreographing a Flexible Taiwan: Cloud Gate Dance Theatre and Taiwan’s Changing Identity, 1973–2003.’ PhD dissertation. University of California, Riverside, 2004.

______. Choreographing a Flexible Taiwan: Cloud Gate Dance Theatre and Taiwan’s Changing Identity. In: CARTER, Alexandra O’SHEA, Janet (eds.) The Routledge Dance Studies Reader, 2nd ed., London: Routledge, 2010, pp. 50–260.

______. Sino-Corporealities. Taipei: Taiwan National University of the Arts Press, 2016.

LIU, Qingyi. Guo Mingda yu Zhongguo xiandai wu [Guo Mingda and China’s Modern Dance]. Zhongguo yishu shikong [China Arts Space], 11, 2015, pp. 3–18.

MA, Nan. Dancing into Modernity: Kinesthesia, Narrative, and Revolutions in Modern China, 1900–1978. PhD dissertation. University of Wisconsin, Madison, 2015.

______. Transmediating Kinesthesia: Wu Xiaobang and Modern Dance in China, 1929–1939. Modern Chinese Literature and Culture, 28:1, 2016, pp. 129–173.

MINARTY, Helly. Transculturating Bodies: Politics of Identity of Contemporary Dance in China. Identity, Culture and Politics: An Afro-Asian Dialogue 6:2, 2005, pp. 42–60.

ONG, Aihwa; COLLIER, Stephen. Global Assemblages: Technology, Politics, and Ethics as Anthropological Problems. Malden, MA: Blackwell, 2005.

OU, Jian-ping. From “Beasts” to “Flowers”: Modern Dance in China. In: SOLOMON, John; SOLOMON, Ruth (eds.) East Meets West in Dance: Voices in the Cross-Cultural Dialogue, New York: Harwood Academic, 1995, pp. 29–35.

REYNOSO, Jose. Choreographing Modern Mexico: Anna Pavlova in Mexico City (1919). Modernist Cultures. 9:1, 2014, pp. 80–98.

SEETOO, Chiayi. The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective. PhD dissertation, University of California, Berkeley, 2013.

SOLOMON, John; SOLOMON, Ruth (eds.) East Meets West in Dance: Voices in the Cross-Cultural Dialogue, 2nd ed. New York: Harwood Academic, 1995.

WILCOX, Emily E. The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949–2009.’ PhD dissertation, University of California, Berkeley. 2011.

______. Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary Chinese Dance: Sixty Years of Controversy. Asian Theater Journal. 29:1, 2012, pp. 206–232.

______. Beyond Internal Orientalism: Dance and Nationality Discourse in the Early People’s Republic of China, 1949–1954. The Journal of Asian Studies. 75:2, 2016, pp. 363–386.

______. The Postcolonial Blind Spot: Chinese Dance in the Era of Third World-Ism, 1949–1965. Positions: asia critique. 26 (4), 2018, pp. 781–815.

XIA,Yu. Women bu shi bozi! [We Are Not Cripples!]. Wudao. 1, 1958, pp. 9–11.

Downloads

Publicado

2022-07-15 — Atualizado em 2023-11-30

Versões

Edição

v. 1 n. 1 (2022): Outras Danças, Muitas Histórias

Seção

Tradução

Licença

As pessoas autoras que publicarem na Revista Brasileira de Estudos em Dança são os responsáveis pelo conteúdo dos artigos assinados e retém os direitos autorais. Concedem à revista o direito de primeira publicação com o trabalho simultaneamente licenciado sob a Licença Creative Commons Atribuição-Não Comercial  4.0 (Open Archives Iniciative - OAI). Esse recurso, utilizado para periódicos de acesso aberto, permite o compartilhamento do trabalho para fins não comerciais com reconhecimento da autoria. Caso o texto venha a ser publicado posteriormente em outro veículo, a pessoa autora deverá informar que o mesmo foi originalmente publicado como artigo na Revista Brasileira de Estudos em Dança. Assim sendo, ainda que a revista seja detentora da primeira publicação, é reservado às pessoas autoras o direito de publicar seus trabalhos em repositórios institucionais ou em suas páginas pessoais, mesmo que o processo editorial não tenha sido finalizado. 

É reservado à revista o direito de realizar alterações de ordem normativa, ortográfica e gramatical visando manter o padrão de língua, respeitando-se, porém, o estilo autoral.