{"id":35241,"date":"2022-02-07T07:30:58","date_gmt":"2022-02-07T06:30:58","guid":{"rendered":"http:\/\/a-desk.org\/?p=35241"},"modified":"2023-07-09T14:33:35","modified_gmt":"2023-07-09T12:33:35","slug":"flamenco-meets-queer-theory","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/flamenco-meets-queer-theory\/","title":{"rendered":"Flamenco meets queer theory"},"content":{"rendered":"<div>\n<div>\n<p class=\"Cuerpo\"><span lang=\"CA\">El queer i el seu desig postcateg\u00f2ric entra a compartir escenari amb el flamenc des de fa tot just tres anys. Tres s\u00f3n tamb\u00e9 els referents que ens permeten enlla\u00e7ar aquests fen\u00f2mens aparentment tan distanciats: el projecte Flamenco Queer, fundat pel guitarrista Jero F\u00e9rec i el bailaor Rub\u00e9n Heras, el treball del pensador i bailaor Fernando L\u00f3pez, materialitzat en <i>Historia queer del flamenco<\/i>, i el m\u00f3n del bailaor, core\u00f2graf i director Manuel Li\u00f1\u00e1n, que \u00e9s l&#8217;\u00faltim i l&#8217;\u00fanic que no s&#8217;ha autodesignat com a tal, sense lliurar-se per aix\u00f2 de la categoritzaci\u00f3 \u2013<i>The New Yorker<\/i> li va dedicar el 2021 el minidoc <a href=\"https:\/\/www.newyorker.com\/culture\/the-new-yorker-documentary\/a-dancers-disruption-of-conservative-flamenco-culture\"><span class=\"Hyperlink0\">Flamenco Queer<\/span><\/a>\u2013, doncs a definitiva, la identitat sexe-gen\u00e8rica pertany en bona part a <i>la mirada de l&#8217;altre.<\/i><\/span><\/p>\n<\/div>\n<div>\n<p class=\"Cuerpo\">Fer confluir el flamenc amb l&#8217;impuls post-fundacional de la teoria queer implica preguntar-se, i aqu\u00ed ho farem centrant-nos en el ball i de la m\u00e0 d&#8217;una s\u00e8rie de converses amb el mateix Li\u00f1\u00e1n \u2013a qui agraeixo profundament l&#8217;intercanvi d&#8217;\u00e0udios de WhatsApp i reflexions\u2013, en quines exclusions est\u00e0 fonamentada la correcci\u00f3 dans\u00edstica relativa als rols de g\u00e8nere. L&#8217;inalterable i fatig\u00f3s pes de la tradici\u00f3 que recau sobre tota obra flamenca, al costat del ritme fren\u00e8tic del mercat art\u00edstic i el seu imperatiu de creativitat, fa que l&#8217;oscil\u00b7laci\u00f3 entre anacronisme i avantguarda o tradici\u00f3 i subversi\u00f3 hagi de ser contemplada m\u00e9s enll\u00e0 dels termes de \u201cruptura est\u00e8tica\u201d personal de l&#8217;anomenat flamenc contemporani.<\/p>\n<\/div>\n<div>\n<p class=\"Notaalpie\"><span lang=\"CA\">\u00abCom a coloms, nenes, com a coloms! Les mans com coloms\u00bb \u00e9s una d&#8217;aquelles &#8220;coletilles&#8221; que tota professora utilitza per motivar una actitud molt flamenca. No nom\u00e9s pel po\u00e8tic de l&#8217;expressi\u00f3, sin\u00f3 perqu\u00e8 et trasllada, amb immediatesa, a la gran Matilde Coral, protagonista de <i>Flamenco<\/i> de Saura, conservadora i sistematitzadora de l&#8217;Escola sevillana de ball <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_1');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_1');\" ><sup id=\"footnote_plugin_tooltip_35241_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_1\" class=\"footnote_tooltip\">L&#8217;Escola sevillana \u00e9s un estil de ball, centrat en el \u00abball de dona\u00bb que busca ressaltar la feminitat, amb sensualitat i coqueteria, atorgant m\u00e9s pes al moviment de mans, espatlles i malucs&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, a qui se li adjudica aquesta expressi\u00f3. Que les reiteracions fan subjecte i fan cos \u00e9s una cosa que la teoria de la performativitat de g\u00e8nere ens ha ensenyat molt b\u00e9: Manuel, tu, com a coloms, no; tu amb bata de cua no; compte amb aquests trencaments de maluc i de mans, Manuel, que s\u00f3n massa efeminats. El bailaor m&#8217;explica que despr\u00e9s de patir aquesta viol\u00e8ncia de g\u00e8nere correctiva, que va estar present sobretot a la inf\u00e0ncia \u2014i, de vegades, a l&#8217;adultesa\u2014, es deslligava el riure entre els seus companys d&#8217;assaig: l&#8217;abjecci\u00f3 tamb\u00e9 ha de ser repetida, recordada i mantinguda en el temps per ser efectiva. \u00c9s la ra\u00f3 per la qual Sedgwick considera que les persones queer s\u00f3n aquelles \u00abla subjectivitat de les quals resideix en negacions o desviacions de (o mitjan\u00e7ant) la l\u00f2gica del suplement heterosexual\u00bb.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_2');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_2');\" ><sup id=\"footnote_plugin_tooltip_35241_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_2\" class=\"footnote_tooltip\">Sedgwick, E. <span class=\"Ninguno\"><i>Tocar la fibra. Afecto, pedagog\u00eda, performatividad<\/i><\/span>. Madrid, 2018, p.75<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> En definitiva, aquelles que m\u00e9s que dependre d&#8217;una repetici\u00f3 performativa del g\u00e8nere, graviten al voltant de negacions expl\u00edcites de la performativitat, que l&#8217;autora anomena periperformatives.<\/span><\/p>\n<\/div>\n<div>\n<p class=\"Notaalpie\"><span lang=\"CA\">\u00abJo no tenia ni idea del que volia dir queer. Quan vam estrenar <em><span lang=\"EN-US\"><a href=\"https:\/\/manuellinan.com\/wp-content\/uploads\/2021\/06\/Dossier-%C2%A1VIVA-2020-2.pdf\"><span class=\"Hyperlink0\"><span lang=\"ES-TRAD\">Viva!<\/span><\/span><\/a><\/span><\/em>, amigues i periodistes em deien que era un bailaor queer i vaig haver d&#8217;informar-me del que era aix\u00f2\u00bb. Que Manuel em confessi aix\u00f2, a banda d&#8217;un cop al narcisisme de la teoria i una confirmaci\u00f3 que la hist\u00f2ria de l&#8217;art \u00e9s anacr\u00f2nica tal com anuncia Didi-Huberman, sotmet a cr\u00edtica el nexe entre el flamenc i el queer. A <i>Historia queer del flamenco <\/i>es recull que la primera aparici\u00f3 escrita de la paraula flamenc per designar un estil musical i coreogr\u00e0fic data de 1847; menys de quaranta anys despr\u00e9s, trobem una primera refer\u00e8ncia al diari <i>El Alabardero<\/i> a la feminitzaci\u00f3 del ball que es produir\u00e0 a finals del XIX: \u00abEls personatges m\u00e9s encopetats i els m\u00e9s selectes de la <i>high life<\/i> madrilenya es moren per sentir els gemecs del cant jondo i per veure els balls de gitanos i homes de dubt\u00f3s sexe\u00bb.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_3');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_3');\" ><sup id=\"footnote_plugin_tooltip_35241_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_3\" class=\"footnote_tooltip\"><span lang=\"ES-TRAD\">L\u00f3pez, F. <span class=\"Ninguno\"><i>Historia queer del flamenco. Desviaciones, transiciones y retornos en el baile flamenco<\/i><\/span>. Barcelona, 2020, p.42<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span> \u00a0<\/span><\/p>\n<p><img decoding=\"async\" width=\"800\" height=\"492\" class=\"alignnone size-full wp-image-35259\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/2-amaya.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/2-amaya.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/2-amaya-595x366.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/2-amaya-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<\/div>\n<div>\n<p class=\"Notaalpie\"><span lang=\"CA\">Manuel Li\u00f1\u00e1n no rebutja el terme queer, encara que prefereix gaudir del plaer de les \u00abno-etiquetes, perqu\u00e8 de vegades m&#8217;he vist aclaparat per les denominacions\u00bb. Per\u00f2 s\u00ed que afirma haver apr\u00e8s que \u00e9s necessari per combatre la intransig\u00e8ncia que encara es mant\u00e9 en l&#8217;ensenyament del correcte i tradicional ball flamenc. No obstant, a la llum de l&#8217;anterior cita, \u00abel que avui anomenem queer ja existia al flamenc abans dels anys 90\u00bb. Dues conseq\u00fc\u00e8ncies: d&#8217;una banda, la hist\u00f2ria de queer del flamenc \u00e9s anacr\u00f2nica, mentre que parlar d&#8217;aquests \u00abhomes de dubt\u00f3s sexe\u00bb de finals del XIX amb categories de finals del XX ho \u00e9s. D&#8217;altra banda, Manuel diu que aquests ja existien, que el seu estil \u00e9s repetici\u00f3 i difer\u00e8ncia \u2013purisme i evoluci\u00f3, tradici\u00f3 i avantguarda, ortod\u00f2xia i subversi\u00f3, tal com han agradat definir-li la majoria de cr\u00edtics\u2013 i \u00abes reconeix aix\u00ed que fer la hist\u00f2ria \u00e9s fer \u2013almenys\u2013 un anacronisme\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_4');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_4');\" ><sup id=\"footnote_plugin_tooltip_35241_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_4\" class=\"footnote_tooltip\"><\/span><span lang=\"CA\"> Didi-Huberman, G. <span class=\"Ninguno\"><i>Ante el tiempo. Historia del arte y anacronismo de las im\u00e1genes<\/i><\/span>. Madrid, 2012, p.55.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span><span lang=\"CA\">, \u00e9s a dir: optar per un objecte d&#8217;estudi des d&#8217;una preocupaci\u00f3 present. I aix\u00f2 \u00e9s aix\u00ed segons Manuel fins i tot per a les m\u00e9s tradicionals de les formes, ja que no deixem<\/span> de \u00abcanalitzar un art amb molta hist\u00f2ria i tradici\u00f3 des del nostre prisma i inquietuds actuals\u00bb.<span lang=\"ES-TRAD\">\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span><span lang=\"ES-TRAD\">\u00a0<\/span><\/p>\n<\/div>\n<div>\n<p class=\"Cuerpo\"><span lang=\"CA\">En aix\u00f2 es juga tota la q\u00fcesti\u00f3. La inclusi\u00f3 de la r\u00fabrica de la temporalitat \u00e9s constant en la teoria queer des dels seus primers desenvolupaments, ja que una de les premisses compartides \u00e9s que la identitat sexe-gen\u00e8rica \u00e9s el resultat de la <i>substancialitzaci\u00f3 <\/i>de l&#8217;esdevenir en el temps. \u00c9s a partir de mitjans dels dos mil quan es comen\u00e7a a parlar d&#8217;un <i>gir temporal<\/i> que desencadenar\u00e0 en un debat al voltant de les <i>temporalitats queer<\/i> amb dues tend\u00e8ncies molt clares: una que projecta la queeritat sobre el futur i una altra que ho fa cap a el passat reivindicant l&#8217;anacronisme \u2013aquest dimoni de la hist\u00f2ria, perqu\u00e8 <i>caure<\/i> a l&#8217;anacronisme \u00e9s no fer hist\u00f2ria\u2013 per a la teoria.<\/span><\/p>\n<\/div>\n<div>\n<p class=\"Notaalpie\"><span lang=\"CA\">\u00abUna de les raons de m\u00e9s pes per la qual la meva dansa ha estat definida com a innovadora i creativa \u00e9s per la transgressi\u00f3 dels rols de g\u00e8nere que hi exerceixo\u00bb. A Li\u00f1\u00e1n el preocupa massa que la cr\u00edtica es concentri en les q\u00fcestions de g\u00e8nere, ja que \u00ab\u00e9s la meva est\u00e8tica i no est\u00e0 separada de la meva dansa\u00bb. Aix\u00f2 no obstant, immobilitzar el focus temporal en aquest punt no ens permet contemplar que, en realitat, \u00abla hist\u00f2ria de les imatges \u00e9s una hist\u00f2ria d&#8217;objectes temporalment impurs, complexos, sobredeterminats. \u00c9s una hist\u00f2ria d&#8217;objectes policr\u00f2nics, d&#8217;objectes heterocr\u00f2nics o anacr\u00f2nics\u00bb . Imitant Didi-Huberman, que troba al mur masclat de Fra Angelico tres temps superposats, prenem<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_5');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_5');\" ><sup id=\"footnote_plugin_tooltip_35241_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_5\" class=\"footnote_tooltip\"><\/span> <span lang=\"ES-TRAD\">Ibid., p.46.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span> <em><span lang=\"EN-US\"><a href=\"https:\/\/manuellinan.com\/wp-content\/uploads\/2021\/06\/Dossier-%C2%A1VIVA-2020-2.pdf\"><span class=\"Hyperlink0\"><span lang=\"ES-TRAD\">Viva!<\/span><\/span><\/a><\/span><\/em><span lang=\"CA\">, la m\u00e9s c\u00e8lebre de les obres de Li\u00f1\u00e1n, per evocar amb ella l&#8217;anacronisme \u2013o intrusi\u00f3 d&#8217;un temps en altre\u2013 que sembla interior els objectes mateixos. Tres temps: (1) el de l&#8217;execuci\u00f3 impecable de la coreografia en totes les seves facetes, respectant el que podr\u00edem entendre per tradici\u00f3, amb els seus respectius pals i recursos, i que ha fet que es qualifiqui Li\u00f1\u00e1n de bailaor ortodox i atent a all\u00f2 consagrat; (2) El de la subversi\u00f3 del binarisme de g\u00e8nere a l&#8217;est\u00e8tica de l&#8217;obra que, en termes contemporanis, ha fet que el seu ball sigui equiparat amb la transformabilitat i la creativitat, en comparaci\u00f3 al car\u00e0cter est\u00e0tic i r\u00edgid \u2013ambdues categories enteses aqu\u00ed a termes temporals\u2013 de la masculinitat i la feminitat cl\u00e0ssiques. Finalment (3), el temps a qu\u00e8 pret\u00e9n traslladar-nos: un passat rememorat, el de la inf\u00e0ncia, amb unes eines del present des de la qual el cos de bailaores narra una \u00e8poca distant, ja superada, a trav\u00e9s d&#8217;una est\u00e8tica que emula les bailaoras dels tablaos dels anys 60 i 70 <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_6');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_6');\" ><sup id=\"footnote_plugin_tooltip_35241_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_6\" class=\"footnote_tooltip\">Sense voler adjudicar a Li\u00f1\u00e1n les pr\u00e0ctiques drag s\u00ed que cal assenyalar que comparteix, en aquest cas, el doble significat d&#8217;arrossegar: creuar el g\u00e8nere, per una banda, i creuar el temps;&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_6');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span><\/p>\n<\/div>\n<div>\n<p class=\"Notaalpie\"><span lang=\"CA\">Aix\u00f2 \u00faltim conflueix amb l&#8217;objectiu de les medievalistes queer com Carolyin Dinshaw, que tracten de trencar amb la demonitzaci\u00f3 de les categories transhist\u00f2riques o, en altres paraules, dels anacronismes: <i>\u00abas queer historical projects aim to promote a queer future, the possibility of queernesses in the past \u2013of lived lives or fictional texts\u2013 becomes crucial\u00bb<\/i> <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_7');\" onkeypress=\"footnote_moveToReference_35241_1('footnote_plugin_reference_35241_1_7');\" ><sup id=\"footnote_plugin_tooltip_35241_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35241_1_7\" class=\"footnote_tooltip\"><\/span> <span lang=\"ES-TRAD\">Dinshaw, C. <span class=\"Ninguno\"><i>Getting Medieval. Sexualities and Communities, Pre- and Postmodern<\/i><\/span>. Duke University, 1999, p.140.<\/span><span lang=\"CA\"><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35241_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_35241_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Per\u00f2 aix\u00f2 no suposa una unificaci\u00f3 identit\u00e0ria entre subjectes del present i del passat, sin\u00f3 una mem\u00f2ria anacr\u00f2nica i fantasiosa de contactes parcials i afectius entre marginalitats de diferents temps.<\/span><\/p>\n<\/div>\n<div>\n<p class=\"Cuerpo\"><span lang=\"CA\">Li\u00f1\u00e1n narra, en bona part dels seus espectacles, hist\u00f2ries \u00edntimes: els desitjos frustrats de la inf\u00e0ncia respecte a la seva est\u00e8tica, expressats a <\/span><span lang=\"EN-US\"><a href=\"https:\/\/manuellinan.com\/wp-content\/uploads\/2020\/01\/manuellinan_reversible_dossier.pdf\"><span class=\"Hyperlink0\"><span lang=\"ES-TRAD\">Reversible<\/span><\/span><\/a><\/span><span lang=\"CA\"> o l&#8217;agredol\u00e7 vincle amb un pare que tenia com aspiraci\u00f3 arribar a veure el seu fill convertit en torero a <i>Pie de Hierro<\/i>. Relat aquest \u00edntim per\u00f2 evocador i constructor de mem\u00f2ria, generador de lla\u00e7os i de col\u00b7lectivitat, ja que dotar d&#8217;una hist\u00f2ria tamb\u00e9 \u00e9s ritualitzar relats a trav\u00e9s de l&#8217;art. El Manuel m\u00e9s feli\u00e7 de l&#8217;entrevista \u00e9s el que m&#8217;explica la rellev\u00e0ncia que ha tingut la seva aposta est\u00e8tica en la naturalitzaci\u00f3 de la bata de cua: \u00abLa bata ja est\u00e0, ning\u00fa ja necessita justificar-se ni crear un personatge. Em sembla molt important que <i>Visca!<\/i> hagi passat a formar part d&#8217;una mem\u00f2ria queer; que a partir dels meus records d&#8217;inf\u00e0ncia, joves que avui estudien flamenc m&#8217;escriguin i em diguin que em segueixen, que he estat un referent\u00bb.<\/span><\/p>\n<\/div>\n<\/div>\n<div>\n<div><a title=\"\" href=\"applewebdata:\/\/B69C2180-EF01-4862-966B-78AD838A5306#_ftnref7\" name=\"_ftn7\"><\/a><\/div>\n<\/div>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_35241_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_35241_1();\">[<a id=\"footnote_reference_container_collapse_button_35241_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_35241_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_1');\"><a id=\"footnote_plugin_reference_35241_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"><\/span><span lang=\"CA\"> L&#8217;Escola sevillana \u00e9s un estil de ball, centrat en el \u00abball de dona\u00bb que busca ressaltar la feminitat, amb sensualitat i coqueteria, atorgant m\u00e9s pes al moviment de mans, espatlles i malucs i refor\u00e7ant l&#8217;\u00fas de recursos tradicionalment femenins com s\u00f3n la bata de cua, el mant\u00f3 i els &#8220;palillos&#8221;. Per contra, un ball t\u00edpicament mascul\u00ed accentuaria el zapateao, amb precisi\u00f3 i for\u00e7a, i mostraria verticalitat en les formes. Aquesta divisi\u00f3 ha estat i \u00e9s efectiva en la correcci\u00f3 dans\u00edstica; si b\u00e9, sempre i des del sorgiment del flamenc han existit subversions i desviacions que han fet dels ideals abstractes, pr\u00e0ctiques m\u00faltiples: de La Conca, Edmond de Bries, Miquel de Molina, Carmen Amaya a Israel Galv\u00e1n o Roc\u00edo Molina. Fernando L\u00f3pez indica, a m\u00e9s, que a partir del 2010 es produeix una eclosi\u00f3 de discursos i pr\u00e0ctiques que q\u00fcestionaran la rigidesa de g\u00e8nere i en qu\u00e8 Manuel Li\u00f1\u00e1n s&#8217;erigeix com a referent principal.<\/span><span lang=\"CA\"><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_2');\"><a id=\"footnote_plugin_reference_35241_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Sedgwick, E. <span class=\"Ninguno\"><i>Tocar la fibra. Afecto, pedagog\u00eda, performatividad<\/i><\/span>. Madrid, 2018, p.75<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_3');\"><a id=\"footnote_plugin_reference_35241_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"ES-TRAD\">L\u00f3pez, F. <span class=\"Ninguno\"><i>Historia queer del flamenco. Desviaciones, transiciones y retornos en el baile flamenco<\/i><\/span>. Barcelona, 2020, p.42<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_4');\"><a id=\"footnote_plugin_reference_35241_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\"><\/span><span lang=\"CA\"> Didi-Huberman, G. <span class=\"Ninguno\"><i>Ante el tiempo. Historia del arte y anacronismo de las im\u00e1genes<\/i><\/span>. Madrid, 2012, p.55.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_5');\"><a id=\"footnote_plugin_reference_35241_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\"><\/span> <span lang=\"ES-TRAD\">Ibid., p.46.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_6');\"><a id=\"footnote_plugin_reference_35241_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\"><\/span> <span lang=\"ES-TRAD\">Sense voler adjudicar a Li\u00f1\u00e1n les pr\u00e0ctiques <i>drag<\/i> s\u00ed que cal assenyalar que comparteix, en aquest cas, el doble significat d&#8217;<i>arrossegar: <\/i>creuar el g\u00e8nere, per una banda, i creuar el temps; transportant-se a un passat dels cossos femenins que, Elizabeth Freeman, amb la seva noci\u00f3 de <i>temporal drag<\/i>, ens ajuda a pensar com a \u00abmuseus vivents blasfems\u00bb.<\/span><span lang=\"CA\"><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35241_1('footnote_plugin_tooltip_35241_1_7');\"><a id=\"footnote_plugin_reference_35241_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\"><\/span> <span lang=\"ES-TRAD\">Dinshaw, C. <span class=\"Ninguno\"><i>Getting Medieval. Sexualities and Communities, Pre- and Postmodern<\/i><\/span>. Duke University, 1999, p.140.<\/span><span lang=\"CA\"><\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_35241_1() { jQuery('#footnote_references_container_35241_1').show(); jQuery('#footnote_reference_container_collapse_button_35241_1').text('\u2212'); } function footnote_collapse_reference_container_35241_1() { jQuery('#footnote_references_container_35241_1').hide(); jQuery('#footnote_reference_container_collapse_button_35241_1').text('+'); } function footnote_expand_collapse_reference_container_35241_1() { if (jQuery('#footnote_references_container_35241_1').is(':hidden')) { footnote_expand_reference_container_35241_1(); } else { footnote_collapse_reference_container_35241_1(); } } function footnote_moveToReference_35241_1(p_str_TargetID) { footnote_expand_reference_container_35241_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_35241_1(p_str_TargetID) { footnote_expand_reference_container_35241_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>El queer i el seu desig postcateg\u00f2ric entra a compartir escenari amb el flamenc des de fa tot just tres anys. Tres s\u00f3n tamb\u00e9 els referents que ens permeten enlla\u00e7ar&#8230;<\/p>\n","protected":false},"author":2748,"featured_media":35249,"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":[6149],"tags":[],"coauthors":[6731],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Flamenco meets queer theory &#8211; 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\/flamenco-meets-queer-theory\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Flamenco meets queer theory &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"El queer i el seu desig postcateg\u00f2ric entra a compartir escenari amb el flamenc des de fa tot just tres anys. 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