\u2014 Geneaologies of dance as artistic practice in Portugal<\/p>\n
<\/p>\n
An ongoing collective exhibition research project curated by choreographer Jo\u00e3o Santos Martins, whose work has been intersecting the archeology of choreographic artifacts of dance repertoire and their operativeness in the present time, choreographer Carlos Manuel Oliveira, who dedicates himself to the critique of the relationship between choreography and dance as well as to the modes of existence of the knowledge to them associated, and historian and performance studies scholar Ana Bigotte Vieira, who has dedicated herself to cultural history and the role of art in shaping the social sphere.<\/p>\n
It proposes a singular construction of chronologies that attempt to showcase 20th\/early 21st century milestones in the emergence of dance as an art practice in Portugal, displaying events in relation to transformations in society and choreographic discourse.
\nWhile simultaneously inciting the discussion and the recollection of information concerning dance as an artistic practice in Portugal, the exhibition FOR A TIMELINE TO BE is a major tool for collaborative investigation. Based on bibliographical research and oral history inquiry involving dancers, choreographers, critics, technicians, historians and spectators, it intersects key social, political, cultural, biographical and artistic events. Gathering side-by-side discussions on choreographic discourse and key transformations in Portuguese, European and Global society, this project aims at exposing potential tensions, uncovering consensual and non consensual pivotal events and iconic occurrences, while simultaneously fostering comparative analysis from the point of view of decentered modernities \/ uneven and combined development.<\/p>\n
This exercise proposes to highlight historical events that \u2013 through their influence upon authors, practices and institutions \u2013 came to frame the history of dance in Portugal. Hence, by exploring and displaying these occurrences at the crossroads of different periodization narratives, several \u2018modernities\u2019 appear, paving the way for multiples understandings of our current situated kinetic condition.<\/p>\n
<\/p>\n","protected":false},"featured_media":0,"template":"","cat_projectos":[92],"acf":[],"_links":{"self":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/cpt_projectos\/299"}],"collection":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/cpt_projectos"}],"about":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/types\/cpt_projectos"}],"wp:attachment":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/media?parent=299"}],"wp:term":[{"taxonomy":"cat_projectos","embeddable":true,"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/cat_projectos?post=299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}