Historias de y para la «danza contemporánea»: replanteamiento de la pedagogía de la historia de la danza en y desde la periferia
DOI:
https://doi.org/10.58786/rbed.2025.v4.n8.71982Palabras clave:
Autobiography;, Teacher training;, Curriculum, Dance History, Teaching PracticeResumen
El artículo sostiene que la verdadera descolonización de la pedagogía de la historia de la danza requiere el desmantelamiento de las jerarquías epistemológicas de valor que promueven solo ciertas danzas como dignas de teorización estética y atención crítica. Estas danzas valoradas son las procedentes de Europa y la neo-Europa, normalmente representadas para un público y siempre etiquetadas como «arte». A menudo, se apropian de prácticas del campo mucho más amplio de la danza, presentando estas apropiaciones como novedades dentro de las instituciones artísticas del Norte Global que dominan el discurso sobre la danza, incluyendo quiénes se consideran «profesionales» y qué es lo suficientemente valioso como para constituir una materia «fundamental» para las futuras generaciones de bailarines, tanto en la práctica como en la teoría. En el proceso de extractivismo colonialista, los marcos teóricos de la danza artística, hostiles a la vida en continuo cambio de las danzas, utilizan la historia (en singular) para hacer que las danzas de las periferias de los (neo)imperios (antiguos) europeos aparezcan o bien dentro de marcos antropológicos de alteridad exótica y cultura popular, o bien como reacciones tardías al centro y a la vanguardia en el corazón de estos imperios. Tras rastrear el surgimiento del discurso no marcado como blanco y sus efectos tanto en los libros de texto de historia de la danza como en la pedagogía, este artículo sugiere algunos pasos hacia un futuro más equitativo.
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