What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia.
Dance is named and un-concealed in this essay as a collective experience that is connected with the celebratory ecstasy of life, far away from the voices of the “specialists”. Furthermore, it is problematized as an artistic creation, the result of the relationship between the “creative subject” and...
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Universidad Distrital Francisco José de Caldas
2015
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| Acceso en línea: | http://hdl.handle.net/11349/24061 |
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ir-11349-240612020-06-04T21:44:18Z What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. Aquello que llamamos danza: Danza-ritual y “danza artística” en Oruro, Bolivia Romero Flores, Javier Reynaldo Dance ritual artistic dance art folklore festive dynamics colonialism Danza-ritual danza artística arte folclor dinámica festiva colonialidad Dance is named and un-concealed in this essay as a collective experience that is connected with the celebratory ecstasy of life, far away from the voices of the “specialists”. Furthermore, it is problematized as an artistic creation, the result of the relationship between the “creative subject” and the “art object”, and its colonial and Eurocentric sense is revealed. We also report on its process of objectification with the arrival of the capitalist economy, the imposition of the neoliberal model and its obsession with unrestrained profit. The apparent appreciation of “folk dance” coming from national states in the late twentieth century was part of a process of concealment to turn dance into merchandise. En el presente ensayo se enuncia y des-encubre a la danza como experiencia colectiva, conectada con el éxtasis celebratorio de la vida y alejada de las voces de los “especialistas”. Además, se la problematiza como creación artística, resultado de la relación entre “sujeto creador” y “objeto de arte”, y se pone en evidencia su sentido colonial y eurocéntrico. También se relata su proceso de cosificación con la llegada de la economía capitalista, la imposición del modelo neoliberal y la obsesión desbordada de este por las ganancias. Con ello se hace notar que la aparente valoración de la “danza folclórica” por parte de los Estados nacionales a fines del siglo XX fue parte de un proceso de encubrimiento para convertirla en mercancía. 2015-11-06 2020-06-04T21:44:18Z 2020-06-04T21:44:18Z info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares https://revistas.udistrital.edu.co/index.php/c14/article/view/9559 10.14483/10.14483/udistrital.jour.c14.2015.2.a02 http://hdl.handle.net/11349/24061 spa https://revistas.udistrital.edu.co/index.php/c14/article/view/9559/10793 https://revistas.udistrital.edu.co/index.php/c14/article/view/9559/11078 Derechos de autor 2015 CALLE14: revista de investigación en el campo del arte application/pdf text/html Universidad Distrital Francisco José de Caldas Calle 14 revista de investigación en el campo del arte; Vol. 10 Núm. 16 (2015): Arte y manifestaciones populares; 14-29 CALLE14: revista de investigación en el campo del arte; Vol 10 No 16 (2015): Arte y manifestaciones populares; 14-29 2145-0706 2011-3757 |
| institution |
Universidad Distrital Francisco José de Caldas |
| collection |
DSpace |
| language |
Español (Spanish) |
| topic |
Dance ritual artistic dance art folklore festive dynamics colonialism Danza-ritual danza artística arte folclor dinámica festiva colonialidad |
| spellingShingle |
Dance ritual artistic dance art folklore festive dynamics colonialism Danza-ritual danza artística arte folclor dinámica festiva colonialidad Romero Flores, Javier Reynaldo What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. |
| description |
Dance is named and un-concealed in this essay as a collective experience that is connected with the celebratory ecstasy of life, far away from the voices of the “specialists”. Furthermore, it is problematized as an artistic creation, the result of the relationship between the “creative subject” and the “art object”, and its colonial and Eurocentric sense is revealed. We also report on its process of objectification with the arrival of the capitalist economy, the imposition of the neoliberal model and its obsession with unrestrained profit. The apparent appreciation of “folk dance” coming from national states in the late twentieth century was part of a process of concealment to turn dance into merchandise. |
| format |
Artículo (Article) |
| author |
Romero Flores, Javier Reynaldo |
| author_facet |
Romero Flores, Javier Reynaldo |
| author_sort |
Romero Flores, Javier Reynaldo |
| title |
What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. |
| title_short |
What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. |
| title_full |
What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. |
| title_fullStr |
What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. |
| title_full_unstemmed |
What We Call Dance: Dance Ritual and “Artistic Dance” in Oruro, Bolivia. |
| title_sort |
what we call dance: dance ritual and “artistic dance” in oruro, bolivia. |
| publisher |
Universidad Distrital Francisco José de Caldas |
| publishDate |
2015 |
| url |
http://hdl.handle.net/11349/24061 |
| _version_ |
1712444542556307456 |
| score |
12,123487 |