{"id":24808,"date":"2018-11-05T06:00:40","date_gmt":"2018-11-05T05:00:40","guid":{"rendered":"http:\/\/a-desk.org\/magazine\/dancing-in-the-street\/"},"modified":"2018-11-06T16:44:20","modified_gmt":"2018-11-06T15:44:20","slug":"dancing-in-the-street","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/","title":{"rendered":"Dancing in the Street"},"content":{"rendered":"

Acostar-se a la coreografia ha estat una constant de l’art contemporani des de fa m\u00e9s d’una d\u00e8cada. Diverses exposicions i esdeveniments han situat la performance i la dansa com a formes (i f\u00f3rmules) aclamades als programes de museus i centres d’art. Tirant la vista enrere, i temptejant una historiografia que no escapa a l’oficialitat del Nord Global, trobem m\u00faltiples exemples entre els quals destaquen la creaci\u00f3 de Performa<\/em> per Roselee Goldberg i les Seven Easy Pieces<\/em> de Marina Abramovic en el Guggenheim, ambdues en 2005 i a Nova York, que van marcar una tend\u00e8ncia que se situava entre el viu i el mort, entre el llegat hist\u00f2ric de la performance i la seva institucionalitzaci\u00f3, i entre la cr\u00edtica al relacional i l’\u00e8xit de p\u00fablic assedegat d’experi\u00e8ncies (paraula m\u00e0gica).<\/p>\n

Cal assenyalar l’atenci\u00f3 que han rebut artistes\/core\u00f2grafs com Xavier Le Roy, Tino Sehgal, Anne Teresa De Keersmaeker, La Ribot, Boris Charmatz, Maria Hassabi, Trajal Harrell, Jerome Bel, William Forsyte, \u00c0ngels Margarit, Ralph Lemon, Michael Portnoy, Alexandra Pirici, Sol Pic\u00f3, o Roman Ond\u00e1k entre molts uns altres, i exposicions com Move. Choreographing You \u2013 Art and Dance since 1960<\/em> (Hayward Gallery, 2010), o Choreographing Exhibitions: A book and a festival<\/em> (comisariada per Mathieu Copeland, 2013), per nomenar solament dos, al costat de la recuperaci\u00f3 o exaltaci\u00f3 de mestres com Pina Bausch i Merce Cunningham, la generaci\u00f3 de la Judson Church (Lucinda Childs, Simone Forti, Yvonne Rainer, Trisha Brown, Meredith Monk, Robert Morris o Steve Paxton), Anna Halprin, i \u00a0tamb\u00e9 Carolee Schneeman, Joan Jonas, Allan Kaprow, o Yoko Ono. Un altre factor per tenir en compte \u00e9s la creaci\u00f3 de festivals, iniciatives, i departaments dedicats a performance als museus, alguna cosa que garanteix i sofistica la preservaci\u00f3 i presentaci\u00f3 de les arts de\/en moviment. Tamb\u00e9 l’impacte de programes acad\u00e8mics, revistes i publicacions dedicades, aix\u00ed com tamb\u00e9 la construcci\u00f3 d’espais emblem\u00e0tics, teatres (black cubes), lobbies i auditoris en els quals acollir aquests programes. Paradigm\u00e0ticament, el MoMA va crear el departament de Media & Performance el 2009, i la seva nova ampliaci\u00f3 comptar\u00e0 amb un espai anomenat \u201cThe Studio\u201d per acollir performances de tot tipus.<\/p>\n

Ara b\u00e9, com en els or\u00edgens m\u00edtics del v\u00eddeo, l’impuls de la coreografia es torna una narraci\u00f3 que com a preg\u00e0ria repetim aix\u00ed: el 1956 John Cage comen\u00e7a a fer classes de forma regular en la New School for Social Research, un total de cinc cursos fins a 1960. Dos d’ells dedicats a composici\u00f3, dos m\u00e9s a l’obra de Virigil Thomson i Erik Satie, i un \u00faltim enfocat a la micolog\u00eda (s\u00ed, als bolets). A les seves classes de composici\u00f3, Cage elabora un panorama de la m\u00fasica del moment (concreta i electr\u00f2nica) a m\u00e9s d’indagar en nocions com a durada, morfologia, timbre, amplitud, i introduir la seva particular mescla d’I Ching<\/em>, filosofia \u00edndia i avantguarda europea marcat per la relaci\u00f3 amb Schoenberg i Duchamp. Entre els participants a aquests cursos estaven Kaprow, George Brecht, Al Hansen i Dick Higgins, just en els inicis dels happenings i de fluxus. Un altre dels assistents, Robert Dunn, ser\u00e0 qui pocs anys m\u00e9s tard, a principis dels seixanta, ensenyi composici\u00f3 a una nova generaci\u00f3 en l’estudi de Merce Cunningham, sent aquest el grup originari de la Judson Dansi Church.<\/p>\n

Aquesta genealogia familiar segueix viva encara avui i, encara que m’agradaria donar amb una altra perspectiva, aquesta es reivindica com a principal no tan sols per a la dansa sin\u00f3 tamb\u00e9 per a l’art contemporani. La visi\u00f3 compositiva de Cage-Cunningham nua d’expressivitat, narrativitat i representativitat se centra en una an\u00e0lisi de la mat\u00e8ria primera, so o moviment per, a partir d’aqu\u00ed, entendre-ho com alguna cosa que ens fa, no com alguna cosa prefigurada, determinada per qui la fa, sin\u00f3 alguna cosa que \u00e9s el que \u00e9s, fet al mateix temps que compost, present en tot moment. D’aqu\u00ed l’inter\u00e8s per la quotidianitat (no tant per l’equaci\u00f3 art = vida, her\u00e8ncia de l’avantguarda), sin\u00f3 per l’inter\u00e8s per la indeterminaci\u00f3 de la vida mateixa. La introducci\u00f3 de les \u201cchance operations\u201d \u00e9s una altra forma de compondre evitant els esquemes mentals i convencions adquirides, i alhora alliberar-se en un joc, sense saber com acaba. L’\u00fas d’instruccions o d’objectes com una altra forma de pautar el moviment, les task performances<\/em> de Simone Forti o el No-Manifesto<\/em> de Yvone Rainer, tamb\u00e9 assenyalen a Cunningham com a antecedent i reforcen el \u201ccamp performatiu\u201d, com un espai de definici\u00f3 constant, de l’actual i el possible (virtual, com dirien Deleuze & Guattari). \u00c9s en aquest camp, on trobem una noci\u00f3 de coreografia que escapa a l’escriptura del moviment (notaci\u00f3, dataci\u00f3 i composici\u00f3) per ser una forma de relacionalitat, organitzaci\u00f3 del moviment i de l’entorn, que impacta en la pr\u00e0ctica art\u00edstica com a espai de cr\u00edtica i formulaci\u00f3 d’altres formes de vida.<\/p>\n

Des dels anys noranta, el concepte de coreografia ha anat evolucionant en aquesta direcci\u00f3, particularment interessant \u00e9s el treball d’Andr\u00e9 Lepecki, qui fa aquesta distinci\u00f3 entre la coreografia com a moviment definit per les condicions f\u00edsiques del cos, l’edat, o la gravetat del planeta, i la coreografia com a uni\u00f3 i alteraci\u00f3 del continu vital, obert a una producci\u00f3 inconclusa que q\u00fcestiona la forma de relacionar-nos, sent cossos a esdevenir i no entitats estables jerarquitzades i identificades. Aix\u00ed, la relaci\u00f3 del conjunt mat\u00e8ria-vida ens condueix a m\u00faltiples combinacions en les quals el moviment \u00e9s un reflex d’una mobilitat interna, performativitat del subjecte, i una forma de generar pensament cr\u00edtic (consci\u00e8ncia del que un \u00e9s i fa). Ja sigui la forma d’acoblar-nos amb el rosteix d’una tetera, o amb el ve\u00ed a l’ascensor, la coreografia di\u00e0ria ens fa m\u00e9s del que nosaltres la fem a ella. D’altra banda, remarcar com aquesta pres\u00e8ncia de l’objecte ha suscitat tamb\u00e9 en l’\u00faltima d\u00e8cada una connexi\u00f3 amb els nous materialismes, on el agencialisme de l’objecte, tant laic com a animista, ha desbordat els l\u00edmits de l’objecte i el subjecte. Aquesta relaci\u00f3, ja present en el minimalisme de la Judson Church, tamb\u00e9 ha viscut un moment de recuperaci\u00f3 i esplendor com a espai de treball de molts artistes el treball dels quals incorpora el coreogr\u00e0fic quan pensen en la situaci\u00f3, en la disposici\u00f3 d’elements i en la reciprocitat objecte-cos. La indeterminaci\u00f3 de Cage-Cunningham (l’obra oberta) convertida en espai mainstream de l’art contemporani.<\/p>\n

Quan ens acostem aix\u00ed al pensament coreogr\u00e0fic, aquest es torna un arma per a la subversi\u00f3 de les convencions i els formalismes habituals. La famosa encaixada de Trump \u00e9s un exemple de com aprofitar el moviment com poder desestabilizador. El problema global i actual \u00e9s que siguin els d\u00e8spotes mascles del m\u00f3n units (Bolsonaro l’\u00faltim fan\u00e0tic a arribar a escena) els que controlin la coreografia de la rebel\u00b7li\u00f3. Alguna cosa s’ha perdut en el pas de la globalitzaci\u00f3 neoliberal a les democr\u00e0cies a-liberals, l’ona neofeixista no pot fer-nos oblidar com el moviment pot ser una forma de contestaci\u00f3, resist\u00e8ncia i revoluci\u00f3. Emma Goldman ho sabia, el cos i la seva activaci\u00f3 amb altres cossos, t\u00e9 una capacitat transformativa, capa\u00e7 de fer-nos saltar cap a altres formes de comunicaci\u00f3 i vinculaci\u00f3.<\/p>\n","protected":false},"excerpt":{"rendered":"

Acostar-se a la coreografia ha estat una constant de l’art contemporani des de fa m\u00e9s d’una d\u00e8cada. Diverses exposicions i esdeveniments han situat la performance i la dansa com a…<\/p>\n","protected":false},"author":1267,"featured_media":24773,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[5971],"tags":[],"coauthors":[6406],"acf":[],"yoast_head":"\nDancing in the Street – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dancing in the Street – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Acostar-se a la coreografia ha estat una constant de l’art contemporani des de fa m\u00e9s d’una d\u00e8cada. Diverses exposicions i esdeveniments han situat la performance i la dansa com a...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2018-11-05T05:00:40+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-11-06T15:44:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"980\" \/>\n\t<meta property=\"og:image:height\" content=\"653\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Xavier Acar\u00edn\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Xavier Acar\u00edn\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Xavier Acar\u00edn\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/\",\"name\":\"Dancing in the Street – A*Desk\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg\",\"datePublished\":\"2018-11-05T05:00:40+00:00\",\"dateModified\":\"2018-11-06T15:44:20+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/12df4008685adfecd1cc67ae4ea22a71\"},\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg\",\"width\":980,\"height\":653},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dancing in the Street\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/12df4008685adfecd1cc67ae4ea22a71\",\"name\":\"Xavier Acar\u00edn\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/1929f37f38708befce0fc2eabae8ff74\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a8ce1f61175925fadc001dc9b014778e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a8ce1f61175925fadc001dc9b014778e?s=96&d=mm&r=g\",\"caption\":\"Xavier Acar\u00edn\"},\"sameAs\":[\"http:\/\/ww.xaviacarin.net\"],\"url\":\"https:\/\/a-desk.org\/ca\/autor\/acarin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dancing in the Street – A*Desk","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/","og_locale":"ca_ES","og_type":"article","og_title":"Dancing in the Street – A*Desk","og_description":"Acostar-se a la coreografia ha estat una constant de l’art contemporani des de fa m\u00e9s d’una d\u00e8cada. Diverses exposicions i esdeveniments han situat la performance i la dansa com a...","og_url":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/","og_site_name":"A*Desk","article_published_time":"2018-11-05T05:00:40+00:00","article_modified_time":"2018-11-06T15:44:20+00:00","og_image":[{"width":980,"height":653,"url":"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg","type":"image\/jpeg"}],"author":"Xavier Acar\u00edn","twitter_card":"summary_large_image","twitter_misc":{"Escrit per":"Xavier Acar\u00edn","Temps estimat de lectura":"6 minuts","Written by":"Xavier Acar\u00edn"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/","url":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/","name":"Dancing in the Street – A*Desk","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg","datePublished":"2018-11-05T05:00:40+00:00","dateModified":"2018-11-06T15:44:20+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/12df4008685adfecd1cc67ae4ea22a71"},"breadcrumb":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#breadcrumb"},"inLanguage":"ca","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/"]}]},{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2018\/11\/Jagger-Bowie.jpg","width":980,"height":653},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/ca\/magazine\/dancing-in-the-street\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/ca\/"},{"@type":"ListItem","position":2,"name":"Dancing in the Street"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"ca"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/12df4008685adfecd1cc67ae4ea22a71","name":"Xavier Acar\u00edn","image":{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/1929f37f38708befce0fc2eabae8ff74","url":"https:\/\/secure.gravatar.com\/avatar\/a8ce1f61175925fadc001dc9b014778e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a8ce1f61175925fadc001dc9b014778e?s=96&d=mm&r=g","caption":"Xavier Acar\u00edn"},"sameAs":["http:\/\/ww.xaviacarin.net"],"url":"https:\/\/a-desk.org\/ca\/autor\/acarin\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/24808"}],"collection":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/users\/1267"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/comments?post=24808"}],"version-history":[{"count":3,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/24808\/revisions"}],"predecessor-version":[{"id":24811,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/24808\/revisions\/24811"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media\/24773"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media?parent=24808"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/categories?post=24808"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/tags?post=24808"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/coauthors?post=24808"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}