Las diferentes concepciones del cuerpo en la actualidad implicadas en la construcción de un cuerpo accesible al movimiento en danza
Date
2022-05-26
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Pontificia Universidad Católica del Perú
Abstract
La sociedad en la que vivimos hoy en día, del hiperconsumo y altamente mediatizada,
continúa teniendo un impacto sobre las concepciones que tienen las personas en relación
al cuerpo. El cuerpo ha pasado a ser un objeto-signo más que circula en la sociedad
contemporánea; sociedad que vive bajo regímenes excesivos de trabajo, producción y
autoexigencia, que se han enmarcados en una aparente “libertad”, pero que finalmente
han conseguido hacernos perder el saber contemplativo y la importancia de uno mismo.
Desde mi lugar, como artista en formación que trabaja desde el cuerpo en la carrera de
danza, he observado cómo las disciplinas artísticas no son ajenas a estos cambios de la
sociedad. El presente trabajo, describe las distintas concepciones sobre el cuerpo que se
han construido a partir de la historia de la danza, donde en sus inicios se regía por
doctrinas que determinaban cómo y quién debía ser un cuerpo que danza; no es hasta poco
antes de terminada la Segunda Guerra Mundial que surge una brecha frente a este
pensamiento de carácter apolíneo. Desde este momento, se manifiestan nuevas formas de
expresión dancística, que aceptan y reconocen a los demás cuerpos capaces de bailar;
cuerpos que construyen su movimiento desde sus subjetividades e individualidad, y son
respetados. A modo de reflexión, este trabajo busca conocer el lugar que tienen hoy en
día estas concepciones en el proceso formativo y quehacer artístico del bailarín
profesional.
The society in in which we live today, of the hyper consumption and highly mediatized, continues having an impact on the conceptions that people have in relation to the body. The body has become one more sign-object that circulates in the contemporary society; a society that lives under excessive regimes of work, production and self-demand, which have been framed in an apparent "freedom", but which have finally managed to make us lose contemplative knowledge and the importance of ourselves. As an artist in training who works from the body in a professional dance career, I have witnessed how artistic disciplines are not exempt from these changes in the society. The present work describes the different conceptions about the body that have been built from the history of dance, where at the beginning it was ruled by doctrines that determined how and who a dancing body should be; it is not until shortly before the end of the Second World War that a gap arises in front of this thought of apollonian character. From this moment, new forms of dance expression are manifested, which accept and recognize other bodies capable of dancing; bodies that build their movement from their subjectivities and individuality, and are respected. As a reflection, this work seeks to know the place that these conceptions have today in the formation process and artistic work of the professional dancer.
The society in in which we live today, of the hyper consumption and highly mediatized, continues having an impact on the conceptions that people have in relation to the body. The body has become one more sign-object that circulates in the contemporary society; a society that lives under excessive regimes of work, production and self-demand, which have been framed in an apparent "freedom", but which have finally managed to make us lose contemplative knowledge and the importance of ourselves. As an artist in training who works from the body in a professional dance career, I have witnessed how artistic disciplines are not exempt from these changes in the society. The present work describes the different conceptions about the body that have been built from the history of dance, where at the beginning it was ruled by doctrines that determined how and who a dancing body should be; it is not until shortly before the end of the Second World War that a gap arises in front of this thought of apollonian character. From this moment, new forms of dance expression are manifested, which accept and recognize other bodies capable of dancing; bodies that build their movement from their subjectivities and individuality, and are respected. As a reflection, this work seeks to know the place that these conceptions have today in the formation process and artistic work of the professional dancer.
Description
Keywords
Danza--Historia, Cuerpo humano, Bailarines
Citation
Collections
Endorsement
Review
Supplemented By
Referenced By
Creative Commons license
Except where otherwised noted, this item's license is described as info:eu-repo/semantics/openAccess