Cuerpos que resisten: narrativas de mujeres que viven de la danza en Lima
Date
2024-08-28
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Pontificia Universidad Católica del Perú
Abstract
El cuerpo humano ha sido históricamente despojado de su potencial físico, creativo y expresivo
a través de mecanismos de control y disciplina perpetuados por el sistema capitalista (Guéry y
Deleule, 2014) Esta investigación parte del supuesto de que la danza puede ser una forma de
reapropiación del cuerpo y de resistencia a estos modos de control (Federici, 2022). Desde un
abordaje metodológico narrativo, se examinaron las trayectorias de cuatro mujeres que viven
de la danza: Natalia (26), Daniela (30), María (33) y Vania (44), con el objetivo de comprender
los desafíos afrontados y los recursos de estas mujeres para lograr vivir económicamente de
este arte, así como sus implicaciones subjetivas y socioeconómicas. La pregunta que orienta
esta investigación es ¿cómo son las trayectorias de mujeres que trabajan en el mundo de la
danza? Se encontraron tres momentos claves y comunes en las cuatro historias. El primer
momento, 1) El inicio, relata su encuentro con la danza durante su niñez, donde a pesar de la
rigidez y falta de espacios de formación artística en la escolarización regular, las participantes
se insertan, de manera un tanto azarosa, en espacios extracurriculares que generan pasión y
compromiso con este arte. El segundo momento, 2) La oportunidad y la decisión, alude a un
evento en que, pese a la precariedad del entorno artístico, ellas logran demostrar que son
capaces y talentosas y se acercan a una formación profesional en danza subvencionada por
una institución que reconoce su talento. El tercer momento, 3) Vivir de la danza, refiere a los
trabajos en los que se desempeñan estas mujeres para generar ingresos. Se encontró que vivir
de la danza es posible gracias a la docencia como actividad principal, a trabajos
complementarios como los eventos, conciertos, comerciales y al emprendimiento en danza,
que aparece en todas las historias como el desenlace de su trayectoria. Se concluye que vivir
de la danza siendo mujeres, bailarinas y emprendedoras es una tarea altamente compleja,
llena de desafíos y paradojas, en la que, a veces, es posible resistir al sistema y otras, es
necesario transar con él.
The human body has historically been divested of its physical, creative and expressive potential through different mechanisms of control and discipline perpetuated by the capitalist system (Guéry and Deleule, 2014). This research assumes that dance can be a form of reappropriation of the body and resistance to these modes of control (Federici, 2022). From a narrative methodological approach, the trajectories of four women who make a living from dance were examined: Natalia (26), Daniela (30), María (33) and Vania (44), with the aim of understanding the challenges faced and the resources of these women to make a financial living from this art, as well as its subjective and socioeconomic implications. The question that guides this research is: What are the trajectories of women who work in the world of dance like? Three key and common moments were found in the four stories. The first moment, 1) The beginning, relates their encounter with dance during their childhood, where despite the rigidity and lack of artistic training spaces in regular schooling, the participants insert themselves, in a somewhat random way, into spaces extracurricular activities that generate passion and commitment to this art. The second moment, 2) Opportunity and decision, refers to a situation or event in which, despite the precariousness of the artistic environment, they manage to demonstrate that they are capable and talented and can approach professional dance training that is subsidized by an institution that recognizes their talent. The third moment, 3) Living from dance, refers to the jobs in which these women work to generate income with dance. It was found that making a living from dance is possible thanks to teaching as the main activity, complementary jobs such as events, concerts, commercials and entrepreneurship in dance, which appears in all the stories as the denouement of their career. It is concluded that making a living from dance as women, dancers and entrepreneurs is a highly complex task, full of challenges and paradoxes, in which, sometimes, it is possible to resist the system and other times, it is necessary to trade with it.
The human body has historically been divested of its physical, creative and expressive potential through different mechanisms of control and discipline perpetuated by the capitalist system (Guéry and Deleule, 2014). This research assumes that dance can be a form of reappropriation of the body and resistance to these modes of control (Federici, 2022). From a narrative methodological approach, the trajectories of four women who make a living from dance were examined: Natalia (26), Daniela (30), María (33) and Vania (44), with the aim of understanding the challenges faced and the resources of these women to make a financial living from this art, as well as its subjective and socioeconomic implications. The question that guides this research is: What are the trajectories of women who work in the world of dance like? Three key and common moments were found in the four stories. The first moment, 1) The beginning, relates their encounter with dance during their childhood, where despite the rigidity and lack of artistic training spaces in regular schooling, the participants insert themselves, in a somewhat random way, into spaces extracurricular activities that generate passion and commitment to this art. The second moment, 2) Opportunity and decision, refers to a situation or event in which, despite the precariousness of the artistic environment, they manage to demonstrate that they are capable and talented and can approach professional dance training that is subsidized by an institution that recognizes their talent. The third moment, 3) Living from dance, refers to the jobs in which these women work to generate income with dance. It was found that making a living from dance is possible thanks to teaching as the main activity, complementary jobs such as events, concerts, commercials and entrepreneurship in dance, which appears in all the stories as the denouement of their career. It is concluded that making a living from dance as women, dancers and entrepreneurs is a highly complex task, full of challenges and paradoxes, in which, sometimes, it is possible to resist the system and other times, it is necessary to trade with it.
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Keywords
Danza--Aspectos económicos--Perú--Lima, Mujeres--Perú--Lima--Condiciones económicas, Maestras de danza--Perú--Lima
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