Paloma Bianchi’s Choreographic Work Hacia as a Practice of Amerindian Perspectivism
Bibliographic Data
| ID | 22051636 |
|---|---|
| Authors | Diana Delgado-Ureña Díez (0000-0003-2693-316X, Universidad de Zaragoza, corresponding author) |
| Year | 2021 |
| Volume | 11 |
| Issue | 2 |
| Publication date | 2021-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Revista Brasileira de Estudos da Presença (JOURNAL) |
| Journal identifiers | ISSN: 2237-2660 • E-ISSN: 2237-2660 |
| Publisher | FapUNIFESP (SciELO) (PUBLISHER) |
| DOI | 10.1590/2237-2660102528 |
| OpenAlex | W3132529446 |
| SCIELO_PID | S2237-26602021000200203 |
| Language | EN |
| References cited | 3 |
This text analyzes Hacia (2019) as a critical choreographic device facing the problem of disenchantment of the world derived from the separation between nature and culture inherited from Modernity/coloniality. Hacia puts into practice two notions of Amerindian perspectivism: one that recognizes the relational agency of all entities in the world; and another which raises knowledge as a process of subjectivation that implies bodily, sensory and imaginative dimensions. This analysis proposes a dialogue between the areas of anthropology and contemporary performing arts creation in Brazil
Aesthetics · Art · Disenchantment · Epistemology · Humanities · Perspectivism · Political science · Social science · Sociology · Anthropology · Geographies of human-animal interactions · Indigenous Studies in Latin America · Philosophy · Posthumanist Ethics and Activism
| Citation velocity | historical |
|---|---|
| Highly cited | No |