{"id":4969,"date":"2007-10-11T13:43:08","date_gmt":"2007-10-11T16:43:08","guid":{"rendered":"http:\/\/beta.idanca.net\/2007\/10\/11\/antropofagia-corpo-danca\/"},"modified":"2008-08-05T18:06:16","modified_gmt":"2008-08-05T21:06:16","slug":"antropofagia-corpo-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/antropofagia-corpo-danca\/","title":{"rendered":"Pol\u00edtica antropof\u00e1gica do corpo | Anthropophagic politics of the body"},"content":{"rendered":"

Texto apresentado na Confer\u00eancia Internacional Repensando Teoria e Pr\u00e1tica, em junho de 2007, no CND Paris-Fran\u00e7a, e originalmente publicado no site da Red Sudamericana de Danza <\/a><\/em><\/span><\/p>\n

A dan\u00e7a como pensamento<\/strong><\/p>\n

A dan\u00e7a \u00e9 um espa\u00e7o privilegiado para perceber o car\u00e1ter insepar\u00e1vel entre o sujeito e o objeto do conhecimento. Quando o corpo dan\u00e7a, ele elabora teorias sobre seu pr\u00f3prio fazer. A normativa que incide sobre os sistemas de pensamento: Procedimento de an\u00e1lise, a explicita\u00e7\u00e3o das leis que regem o fen\u00f4meno e a linguagem especializada que o explica, tamb\u00e9m incidem sobre o corpo quando ele dan\u00e7a.<\/p>\n

As a\u00e7\u00f5es do corpo na dan\u00e7a s\u00e3o, de modo insepar\u00e1vel, pensamentos sistematizados sobre o universo que ele articula no espa\u00e7o. Quando ele dan\u00e7a, ele seleciona os procedimentos que melhor atendem as necessidades geradas entre sua pot\u00eancia singular, o contexto envolvido e os objetivos pr\u00e9vios tra\u00e7ados. Da mesma maneira, \u00e0 medida que a dan\u00e7a acontece, v\u00e3o se explicitando no espa\u00e7o as leis que condicionam seu estado atual e \u00e9 o acontecimento desse fen\u00f4meno, din\u00e2mico subjetivo, que inaugura a linguagem espec\u00edfica pela qual temos acesso a seu universo s\u00edgnico po\u00e9tico.<\/p>\n

N\u00e3o existe uma inst\u00e2ncia puramente mec\u00e2nica, isentas de subjetiva\u00e7\u00e3o, na a\u00e7\u00e3o de um corpo que se coloca em atitude socialmente convencionada como representa\u00e7\u00e3o. Representa\u00e7\u00e3o aparece aqui em duas acep\u00e7\u00f5es do termo, a primeira que se refere ao efeito da a\u00e7\u00e3o da arte e a segunda ao conte\u00fado apreendido pelos sentidos, pela imagina\u00e7\u00e3o, pela mem\u00f3ria ou pelo pensamento. Todo corpo que dan\u00e7a, mesmo que n\u00e3o queira, mesmo que n\u00e3o seja consciente, representa elaborando simboliza\u00e7\u00e3o de modo organizado.<\/p>\n

A natureza coreogr\u00e1fica tem car\u00e1ter proposicional, ela estabelece rela\u00e7\u00f5es entre os diferentes termos que ap\u00f3iam o sentido da estrutura, em uma obra de dan\u00e7a. Num \u00e2mbito particular, para aqueles que a realiza, a coreografia \u00e9 o resultado de um exerc\u00edcio de elabora\u00e7\u00e3o onde hip\u00f3teses foram testadas e aquelas que se meta-confirmam s\u00e3o reunidas e provisoriamente apresentadas. E num \u00e2mbito geral, quando a coreografia \u00e9 compartilhada com a comunidade, ela concorre ao status de conhecimento intervindo no sens\u00edvel, provocando deslocamentos conjunturais e se inscrevendo na hist\u00f3ria como produto simb\u00f3lico de um contexto e de um tempo espec\u00edficos, tal como os sistemas de pensamento.<\/p>\n

Teoria e pr\u00e1tica n\u00e3o se separam, seja na dan\u00e7a de um corpo ou na cr\u00edtica que reflete sobre ele. Ambas s\u00e3o de natureza intelectual e perform\u00e1tica ao mesmo tempo. Dan\u00e7ando um corpo constr\u00f3i doutrinas e um pensamento para existir como tal age pelo mundo. Sobre a natureza do pensamento como a\u00e7\u00e3o o trabalho I of the vortex, from neuros to <\/em>self (2001) do neurocientista Rodolfo Ll\u00ednas[i]<\/a> \u00e9 esclarecedor, e em rela\u00e7\u00e3o \u00e0 dan\u00e7a como pensamento a Teoria do CorpoM\u00eddia<\/em> (2005) defendida pelas te\u00f3ricas de dan\u00e7a Christine Greiner e Helena Katz[ii]<\/a> nos d\u00e1 os elementos que refor\u00e7am nossas hip\u00f3teses.<\/p>\n

Tratando das finalidades, \u00e9 importante demarcar que ambos, tanto a dan\u00e7a como os sistemas de pensamento, visam \u00e0 conquista de domin\u00f3s e desenvolvem rela\u00e7\u00f5es de poder atrav\u00e9s do controle de seus universos especializados. Muitos trabalhos nos dois ambientes foram elaborados sobre esta quest\u00e3o. <\/strong>A descri\u00e7\u00e3o da racionalidade ocidental como “instrumentaliza\u00e7\u00e3o da raz\u00e3o” feita por fil\u00f3sofos alem\u00e3es, reunidos na Escola de Frankfurt como Adorno, Marcuse e Horkheimer, \u00e9 um bom exemplo da reflex\u00e3o sobre o exerc\u00edcio te\u00f3rico como uma a\u00e7\u00e3o de domina\u00e7\u00e3o, poder e controle[iii]<\/a>. E a obra coreogr\u00e1fica trio A<\/em>, de Yvonne Rainer, poderia ser um exemplo paralelo na comunidade de dan\u00e7a que ao se apresentar colocou em quest\u00e3o a racionalidade coreogr\u00e1fica, no sentido da sua efici\u00eancia, especializa\u00e7\u00e3o e produtividade elucidando seu car\u00e1ter de domina\u00e7\u00e3o e exclus\u00e3o[iv]<\/a>.<\/p>\n

Teoriac\u00e3o pol\u00edticaest\u00e9tica<\/strong>
\nAntropofagia
\n<\/strong><\/p>\n

No Brasil o fil\u00f3sofo e poeta que prop\u00f5e uma teori-a\u00e7\u00e3o pol\u00edtica-est\u00e9tica \u00e9 Oswald de Andrade trav\u00e9s do canibalismo, met\u00e1fora org\u00e2nica inspirada na cerim\u00f4nia guerreira da imola\u00e7\u00e3o pelos tupis dos inimigos valentes[v]<\/a>. Trata-se de um gesto contra o modelo de sociedade patriarcal o qual estamos historicamente ligados. Seu pensamento \u00e9 organizado como um impulso biops\u00edquico em cadeias de imagens que ligam a intui\u00e7\u00e3o po\u00e9tica densa \u00e0 conceitua\u00e7\u00e3o filos\u00f3fica esquematizada, aqu\u00e9m de qualquer sistema e um pouco al\u00e9m da pura cria\u00e7\u00e3o art\u00edstica, um banquete antropof\u00e1gico de id\u00e9ias.<\/p>\n

Sua interven\u00e7\u00e3o inseparavelmente te\u00f3rica-pr\u00e1tica marcou historicamente a experi\u00eancia de vida de um Brasil traumatizado pela repress\u00e3o colonizadora que lhe condicionou o crescimento. Foi um ato contra os mecanismos de controle sociais de ordem pol\u00edtica, os h\u00e1bitos intelectuais e as manifesta\u00e7\u00f5es art\u00edsticas marcados pelos efeitos da catequese. Tratou-se de um pensamento de ordem ritualista e selvagem como pr\u00e1tica rebelde que nos levaria a revolu\u00e7\u00e3o cara\u00edba que seria a uni\u00e3o de todas as revoltas eficazes na dire\u00e7\u00e3o do homem, pela substitui\u00e7\u00e3o do hist\u00f3rico pelo transit\u00f3rio, do tempo cronol\u00f3gico da civiliza\u00e7\u00e3o, marcado pelo trabalho produtivo, ao tempo dos processos da vida.<\/p>\n

A sociedade pretendida pelo antropofagismo teria base matriarcal e sem repress\u00e3o, onde a viol\u00eancia se descarregaria no ritual antropof\u00e1gico. A finalidade desse ritual seria transformar o tabu em totem, atrav\u00e9s do parric\u00eddio canibalesco, incorpora\u00e7\u00e3o num ato de extrema vingan\u00e7a a alteridade inacess\u00edvel. Tal filosofi-a\u00e7\u00e3o tem em no horizonte da utopia o motor das possibilidades humanas. Aspira uma sociedade que ritualizou a viol\u00eancia da rebeli\u00e3o individual numa rea\u00e7\u00e3o anticolonialista, degultidora dos imperialismos.<\/p>\n

A ruptura com a sociedade matriarcal deu-se quando o homem deixou de comer seu semelhante e passou a escraviz\u00e1-lo[vi]<\/a>. Na sociedade paternalista o fundamento comum do poder est\u00e1 ligado \u00e0 autoridade do pai e a de deus, que reproduz o modelo colonial de governo. A conquista espiritual dos jesu\u00edtas se transfere \u00e0 a\u00e7\u00e3o e o pensamento do messianismo. S\u00e3o messi\u00e2nicas as religi\u00f5es e as filosofias de transcend\u00eancia que t\u00eam conseq\u00fc\u00eancia nas doutrinas paternalistas do estado forte, inclusive na ditadura do proletariado, no surgimento da figura privilegiada do mediador e instrumentos morais e jur\u00eddicos de repress\u00e3o que aspiram subservi\u00eancia em proveito da ordem ou equa\u00e7\u00e3o dos conflitos antag\u00f4nicos entre classes sociais ou entre indiv\u00edduos. Na sociedade paternalista o trabalho torna-se o meio e o fim da exist\u00eancia, reduto da escravid\u00e3o que oferece ao patriarcado seu ponto de apoio. A reivindica\u00e7\u00e3o antropof\u00e1gica \u00e9 pela prioriza\u00e7\u00e3o do sentimento l\u00fadico, pelo espa\u00e7o da cria\u00e7\u00e3o art\u00edstica num circuito que oscila entre o amor e a morte.<\/p>\n

Corpo pol\u00edtico antropof\u00e1gico <\/strong><\/p>\n

A produ\u00e7\u00e3o de dan\u00e7a no Brasil tem seus muitos diferentes exemplos de corpos pol\u00edticos antropof\u00e1gicos, como queria Oswald Andrade, e eu gostaria de dar um exemplo que a meu ver \u00e9 um \u00edcone de degluti\u00e7\u00e3o pol\u00edtico-est\u00e9tica da produ\u00e7\u00e3o do pensamento-a\u00e7\u00e3o em dan\u00e7a nos \u00faltimos anos. Trata-se da obra O samba do crioulo doido<\/em> de Luiz de Abreu.<\/p>\n

J\u00e1 na primeira cena alguns \u00edndices de como \u00e9 que Luiz organiza suas id\u00e9ias dan\u00e7antes se insinuam. Aparece uma silhueta de um corpo na escurid\u00e3o em frente de uma cortina feita n\u00e3o por uma, mas por dezenas de pequenas bandeiras do Brasil que se mostram transl\u00facidas pela incid\u00eancia da luz que vem do lado oposto ao que o corpo se encontra. E de forma fragmentada tamb\u00e9m se ouve na voz de uma cantora negra cuja historia eu contaria se tivesse tempo e que se chama Elza Soares que canta: a carne mais barata do mercado \u00e9 a carne negra!<\/em><\/p>\n

Mais adiante, quando a luz ilumina Luiz, ele come\u00e7a a fragmentar os movimentos de seu corpo como se realmente estivesse executando um auto esquartejamento, sempre com humor e ironia. As cenas que estou apresentando aparecem na ordem e seq\u00fc\u00eancia em que s\u00e3o mostrada no espet\u00e1culo. Da\u00ed ele faz alus\u00e3o a um riso ensaiado, um dos estereotipas que constituem o imagin\u00e1rio do ser brasileiro para o estrangeiro e logo ap\u00f3s ele apresenta uma coreografia executado pelo seu \u00f3rg\u00e3o sexual ao som de um repique, tradicional instrumento de uma bateria de escola de samba. Sambando ele prepara o banquete que vir\u00e1 no final, sobre a trilha sonora de uma receita tradicional brasileira cantada em franc\u00eas. E por fim ele pega um peda\u00e7o do que seria a cortina do fundo, esse j\u00e1 faltando peda\u00e7os e veste deixando que saia pra fora dos buracos existentes \u00e0s partes do seu corpo que s\u00e3o ao mesmo tempo tabu e totem da rela\u00e7\u00e3o de explora\u00e7\u00e3o colonizadora a qual vivemos sistematicamente. At\u00e9 o momento que ele introduz uma parte da bandeira em seu \u00e2nus quando seu banquete antropof\u00e1gico chega a seu \u00e1pice.<\/p>\n

<\/strong><\/p>\n

Devorando os dispositivos normativos geopol\u00edticos<\/strong><\/p>\n

Por uma invers\u00e3o dos mapas de representa\u00e7\u00e3o <\/strong><\/p>\n

Tendo em vista o fen\u00f4meno cada vez mais crescente da imigra\u00e7\u00e3o e a crise das identidades culturais, os conflitos para ajustar os mapas de representa\u00e7\u00e3o de si e do outro se tornam agudos. Um regime antropof\u00e1gico n\u00e3o sofreria tal dilema, pois celebraria uma devora\u00e7\u00e3o mutua das oposi\u00e7\u00f5es que daria a cada uma das partes a forca do outro em prol do homem. O Brasil tem cinco s\u00e9culos de experi\u00eancia antropof\u00e1gica e quase um de reflex\u00e3o sobre a mesma, a partir do momento em que, ao circunscrev\u00ea-la criticamente Oswald a tornou consciente. De fato nosso know how<\/em> nos d\u00e1 condi\u00e7\u00e3o de participar de modo fecundo do debate que se trava internacionalmente em trono da problematiza\u00e7\u00e3o do regime que hoje se tornou hegem\u00f4nico, assim como da inven\u00e7\u00e3o de estrat\u00e9gias de \u00eaxodos do campo imagin\u00e1rio.<\/p>\n

A dan\u00e7a de Luiz elucida essa nossa compet\u00eancia na medida em que ao destrocar vorazmente os estere\u00f3tipos do ser brasileiro ele usa sua pot\u00eancia e traz para o vis\u00edvel e diz\u00edvel as muta\u00e7\u00f5es da sensibilidade enga\u00e7ando as cartografias vigentes lutando por configura\u00e7\u00f5es mais justas, contra todo tipo de imperialismo.<\/p>\n

O regime de subjetiva\u00e7\u00e3o que nos impele as imagens veiculadas pela publicidade e pela cultura de massa, regido pelo capitalismo em sua vers\u00e3o contempor\u00e2nea, tamb\u00e9m conhecido como “capitalismo cognitivo” ou “cultural”, faz parte de uma pol\u00edtica de subjetiva\u00e7\u00e3o flex\u00edvel diferente da \u00e9tica de flexibilidade de subjetiva\u00e7\u00e3o antropof\u00e1gica. Se a primeira \u00e9 insuflada e glamourizada como identifica\u00e7\u00e3o hipn\u00f3tica, a segunda representa uma liberdade de cria\u00e7\u00e3o motivada por uma escuta das sensa\u00e7\u00f5es que assimilam os efeitos da exist\u00eancia do outro no que Suely Rolnik chama de Corpo Vibr\u00e1til: capacidade subcortical que nos permite aprender o mundo em suas condi\u00e7\u00f5es de campos de for\u00e7as que nos afetam e se fazem presentes em nosso corpo sobre a forma de sensa\u00e7\u00f5es[vii]<\/a>. Com ela, o outro \u00e9 uma presen\u00e7a viva feita de uma multiplicidade pl\u00e1stica de for\u00e7as que pulsam em nossa textura sens\u00edvel, tornando-se assim parte de n\u00f3s mesmos.<\/p>\n

Em quanto \u00e0 \u00e9tica do “capitalismo de cognitivo” aproveita-se da fragilidade provocada pela desterritorializa\u00e7\u00e3o subjetivas para oferecer territ\u00f3rios outros j\u00e1 prontos constitu\u00eddo por suas imagens e prometem o para\u00edso neste mundo bastando para isso investirmos toda nossa energia vital – desejo, afeto, conhecimento, intelecto, imagina\u00e7\u00e3o e a\u00e7\u00e3o – para atualizar em nossa exist\u00eancia estes mundos virtuais de signos, atrav\u00e9s do consumo de objetos e servi\u00e7os que os mesmos nos prop\u00f5em. A \u00e9tica antropof\u00e1gica prop\u00f5e a constru\u00e7\u00e3o de territ\u00f3rios com base nas urg\u00eancias indicadas pelas sensa\u00e7\u00f5es – ou se, os sinais da presen\u00e7a do outro em nosso corpo vibr\u00e1til. S\u00e3o em trono destes sinais e de sua reverbera\u00e7\u00e3o nas subjetividades que respiram o mesmo ar do tempo e que v\u00e3o se abrindo poss\u00edveis na exist\u00eancia individual e coletiva.<\/p>\n

<\/strong><\/p>\n

O que o Brasil tem para ensinar <\/strong><\/p>\n

A dan\u00e7a \u00e9 uma forma de conhecimento cuja natureza din\u00e2mica \u00e9 ao mesmo tempo uma forma elaborada de subjetividade. E a reflex\u00e3o sobre ela \u00e9 um sistema de pensamento e tamb\u00e9m a\u00e7\u00e3o. Ambos os modos de express\u00e3o – coreogr\u00e1fico e critico – concorrem nos universos das micropol\u00edticas ao poder por uma vontade de verdade e tem como realidade sist\u00eamica as normativas do “capitalismo cognitivo”. O corpo pol\u00edtico antropof\u00e1gico poderia ser uma poss\u00edvel alternativa aos efeitos hipn\u00f3ticos e alienantes conseq\u00fcentes deste contexto.<\/p>\n

Numa perspectiva antropof\u00e1gica o conhecimento se difundiria pela devora\u00e7\u00e3o da for\u00e7a do outro e uma obra coreogr\u00e1fica sempre celebraria um banquete antropof\u00e1gico de id\u00e9ias. Livre de repress\u00e3o, as identidades baseadas em subjetiva\u00e7\u00f5es flex\u00edveis pela sensibilidade da presen\u00e7a do outro em nosso corpo vibr\u00e1til n\u00e3o esperariam uma provid\u00eancia paternal para os conflitos nem buscaria o para\u00edso. A emerg\u00eancia de tal pr\u00e1tica representaria um efeito imprevis\u00edvel de pequenas perfura\u00e7\u00f5es na massa compacta da brutalidade dominante que envolve o planeta hoje.<\/p>\n

\n

[i]<\/a> London: Bardford Books.[ii]<\/a> S\u00e3o Paulo: Annablume e tamb\u00e9m Katz, Helena. um, dois, tr\u00eas, a dan\u00e7a \u00e9 o pensamento do corpo<\/em>, Belo Horizonte: Fid, 2005 .[iii]<\/a> Para um aprofundamento maior sobre o assunto ver Chau\u00ed (2004, p.236) ed. \u00c1tica e a aula inaugural proferida por Michel Foucault em dezembro de 1970, publicada no Brasil pela Loyola 2001.[iv]<\/a> Para maior debate sobre o assunto ver Terpsichore in Sneakers de Sally Banes, Boston: Houghton Mifflin company (1979).<\/p>\n

[v]<\/a> Vero Obras completa: Oswald de Andrade, utopia antropof\u00e1gica<\/em>. S\u00e3o Paulo: Globo (1990).<\/p>\n

[vi]<\/a> Ver A origem da fam\u00edlia, da propriedade privada, e do Estado<\/em> de Friedrich Engels, Rio de Janeiro: Funda\u00e7\u00e3o Getulio Vargas 1960. <\/em><\/p>\n

[vii]<\/a> Ver Geopol\u00edtica da Cafetinagem<\/em> de Suely Rolnik em: http:\/\/www.rizoma.net\/interna.php?id=292&secao=artefato .<\/p>\n

\n
\n

Text originally published at Red Sudamericana de Danza’s website.<\/a><\/em><\/p>\n

Dance as thought<\/strong><\/span><\/p>\n

Dance is a privileged space for perceiving the inseparable character between the subject and the object of knowledge. When a body dances, it elaborates theories about its own act of making. The normative falls upon the systems of thoughts: analysis proceedings, the act of making explicit the laws that govern the phenomenon and the specialized language that explains it, they all fall upon the body when it dances.<\/p>\n

The actions of the body are, in an inseparable way, systematized thoughts on the universe that it articulates in space. When the body dances, it selects the proceedings that better fulfill the necessities generated between its singular potency, the involved context and the previous traced aims. In the same way, as dance happens, the laws that regulate its actual state become clearer in the space and it\u2019s the happening of this phenomenon, dynamic and subjective, that inaugurates the specific language through which we have access to its poetical symbolic universe.<\/p>\n

There\u2019s no purely mechanic instance, exempt from subjectivation, in the action of body that puts itself in a socially conventionalized attitude as representation. Representation appears here in two meanings of the term, the first one refers to the effect of the action of art and the second to the content apprehended by the senses, by the imagination, by the memory or by the thoughts. Every single body that dances, even if it doesn\u2019t want so, even if he is not conscious of it, represents in elaborating symbolization in a coherent way.<\/p>\n

The choreographic nature has a propositional character. It establishes relationships between the different terms that support the sense of the structure in a work of dance. In a particular context, for those who accomplish it, the choreography is the result of an exercise of elaboration where hypothesis have been tested and those that get meta-confirmed are gathered and provisorily presented. And in a more general context, when the choreography is shared by the community, it competes for the status of knowledge intervening in the sensible, provoking dislocations of conjunctures and getting inscribed in history as a symbolic product of a specific context and of a period of time, such as the systems of thought.<\/p>\n

Theory and practice don\u2019t get split, be it in the dance of a body or in the critic that reflects about it. Both are simultaneously of intellectual and performatic nature. As it dances, a body builds up doctrines and a thought in order to exist in the same way that it operates in the world. About the nature of thought as action, the work I of the vortex, from neuros to self <\/em>(2001), by the neuroscientist Rodolfo Ll\u00ednas , is illuminating and in relation to dance as thought the Theory of the BodyMedia<\/em> (Teoria do CorpoM\u00eddia) (2005), defended by the dance theoreticians Christine Greiner and Helena Katz , gives us elements that reinforce our hypothesis.<\/p>\n

In terms of finalities, it\u2019s important to demarcate that both, dance as well as the systems of thought, aim at the conquest of dominoes and develop power relationships through the control of its specialized universes. A lot of works in both fields have been elaborated on this question. The description of the Western rationality as \u201cthe use of reason\u201d made by Adorno, Marcuse and Horkheimer is a good example of reflection on the theoretical exercise as an action of domination, power and control . And the choreographic piece, Trio A<\/em>, by Yvonne Rainer, could be a parallel example in the dance community which, when it was presented, put into question the choreographic rationality, in terms of its efficacy, specialization and productivity, making explicit its character of domination and exclusion.<\/p>\n

Politicalaesthetical theory-action<\/strong><\/p>\n

Anthropophagy<\/strong><\/p>\n

In Brazil, the philosopher and poet that proposes a political-aesthetic theory-action is Oswald de Andrade through the cannibalism, an organic metaphor inspired in the martial ceremony of sacrifice of their brave enemies conducted by the Tupi Indians. It was a gesture against the model of patriarchal society which we are historically connected to. His thought is organized as a bio-psychic impulse in chain of images that connects the dense poetical intuition to the schematized philosophical conceptualization, beneath any system and a bit beyond the pure artistic creation, an anthropophagic banquet of ideas.<\/p>\n

His intervention inseparably theoretical-practical has marked historically the life experience of a country traumatized by the colonist repression that has conditioned our growth. It was an act against the social control mechanisms of political order, the intellectual habits and the artistic manifestations marked by the effects of the catechesis. It was a thought of ritualistic and wild order as a rebel practice that would conduct us to the Cariban revolution that would be the union of all efficient revolts in the direction of man, for the replacement of the historical by the transitory, from the chronological time of civilization, marked by the productive work, to the time of the life processes.<\/p>\n

The society aimed by the anthropophagism would be matriarchal-based and without repression, where violence would be discharged in the anthropophagic ritual. The finality of such a ritual would be to transform the taboo into totem, through the cannibalistic parricide, incorporation in an act of extreme revenge against the unattainable otherness. Such philosophy-action has, in the horizon of a utopia, the motor of the human possibilities. It aspires for a society that has ritualized the violence of the individual rebellion into an anti-colonist reaction, swallower of imperialisms.<\/p>\n

The rupture with the matriarchal society took place when man stopped eating his fellows and started to enslave them . In the paternalist society, the common fundamental of power is connected to the authority of the father and of God, which reproduces the colonist model of government. The spiritual conquest of the Jesuits gets transferred to the action and the thought of the messianism. The religions and philosophies of transcendence that have consequence in the paternalist doctrines of a strong State are all messianic, having consequence even under the proletariat\u2019s dictatorship, in the emergence of the privileged figure of the mediator and the moral and juridical instruments of repression which aspire for the subservience in benefit of the order or equation of the antagonistic conflicts between classes or among individuals. In the paternalist society, work becomes the medium and the aim of existence, redoubt of slavery that offers to the patriarchate its supporting point. The anthropophagic claim is for the priority of the ludic feeling, for the space of artistic creation in a circuit that oscillates between love and death.<\/p>\n

Anthropophagic political body<\/strong><\/p>\n

The dance production in Brazil has its many different examples of anthropophagic political bodies, as wished by Oswald de Andrade, and I would like to give an example which, in my opinion, is an icon of the political-aesthetic swallowing of the production of the thoughtaction in dance over the last years. It\u2019s the work O samba do criolo doido<\/em> (The Samba of the crazy nigger) by Luiz de Abreu.<\/p>\n

Already on the first scene, some indexes of how Luiz organizes his dancing ideas get introduced subtly. We see the silhouette of a body in the darkness in front of a curtain made not only by one, but by tens of small Brazilian flags that become translucent due to the incidence of light that comes from the opposite side where the body is. And in a fragmented way one hears the voice of a black singer, whose history I would tell you if I had the time, called Elza Soares, who sings: a carne mais barata do mercado \u00e9 a carne negra! \/ The cheapest flesh available in the market is the black flesh! <\/em><\/p>\n

Further on, when the light is cast upon Luiz, he starts to fragment the movements of his body as if he was really performing a self-quartering, always with humor and irony. The scenes that I am presenting appear in the order and sequence that they are shown in the piece. At that point he makes an allusion to a rehearsed smile, one of the stereotypes that constitute the imagery of what being a Brazilian is like for a foreigner and soon afterwards he presents a choreography executed by his sex organ at the rhythm of the repique, a traditional instrument of the battery of a samba school. Dancing samba, he prepares the banquet that will come at the end, on the soundtrack of a traditional Brazilian recipe sung in French. And at the end, he takes a piece of what seemed to be part of the background curtain, already with missing parts, and dress it up leaving open some holes through which parts of his body which are at the same time taboo and totem of the colonist exploration relationship under which we live systematically. He does this until the moment when he introduces part of the flag into his anus making the anthropophagic banquet get to its summit.<\/p>\n

Devouring the normative geopolitical gadgets<\/strong><\/span><\/p>\n

For an inversion of the maps of representation<\/strong><\/p>\n

Taking into consideration the phenomenon of the constant increasing immigration and the crisis of the cultural identities, the conflicts to adjust the maps of representation of oneself and of the other become acute. An anthropophagic regime wouldn\u2019t suffer such a dilemma, once it would celebrate a mutual swallowing of the oppositions that would give to each one of the parts the force of the other for the benefit of man. Brazil has five centuries of anthropophagic experience and almost one century of reflection on it, from the moment that, when Oswald de Andrade circumscribed it critically, he rendered it conscious. Indeed, our know-how allows us to take part, in a fertile way, of the debate that is been held internationally around the questioning of the regime, something that has become hegemonic, as well as the invention of strategies of exodus in the imaginary field.<\/p>\n

Luiz\u2019s dance casts light upon our competence once, when he destroys voraciously the stereotypes of being a Brazilian, he uses his potency and brings into the visible and utterable the mutations of sensibility, breaking the present cartographies in fighting for fairer configurations, against whichever kind of imperialism.<\/p>\n

The subjectivation regime that impels us the images diffused by publicity and by the mass culture, orchestrated by the capitalism in its contemporary version, also known as \u201ccognitive\u201d or \u201ccultural capitalism\u201d, is part of a politics of flexible subjectivation different from the ethics of flexibility of the anthropophagic subjectivation. If the former is insuflated and rendered glamourous as hypnotic identification, the latter represents a liberty of creation motivated by an attentive attitude towards the sensations that assimilate the effects of the other\u2019s existence, what Suely Rolnik calls Vibratile Body: the sub-cortical capacity that permits us to learn about our world in its conditions as a field of forces that affect us and become present in our bodies under the form of sensations . With her, the other is a live presence made of a plastic multiplicity of forces that pulsate in our sensible texture, becoming this way part of ourselves.<\/p>\n

O regime de subjetiva\u00e7\u00e3o que nos impele as imagens veiculadas pela publicidade e pela cultura de massa, regido pelo capitalismo em sua vers\u00e3o contempor\u00e2nea, tamb\u00e9m conhecido como \u201ccapitalismo cognitivo\u201d ou \u201ccultural\u201d, faz parte de uma pol\u00edtica de subjetiva\u00e7\u00e3o flex\u00edvel diferente da \u00e9tica de flexibilidade de subjetiva\u00e7\u00e3o antropof\u00e1gica. Se a primeira \u00e9 insuflada e glamourizada como identifica\u00e7\u00e3o hipn\u00f3tica, a segunda representa uma liberdade de cria\u00e7\u00e3o motivada por uma escuta das sensa\u00e7\u00f5es que assimilam os efeitos da exist\u00eancia do outro no que Suely Rolnik chama de Corpo Vibr\u00e1til: capacidade subcortical que nos permite aprender o mundo em suas condi\u00e7\u00f5es de campos de for\u00e7as que nos afetam e se fazem presentes em nosso corpo sobre a forma de sensa\u00e7\u00f5es . Com ela, o outro \u00e9 uma presen\u00e7a viva feita de uma multiplicidade pl\u00e1stica de for\u00e7as que pulsam em nossa textura sens\u00edvel, tornando-se assim parte de n\u00f3s mesmos.<\/p>\n

While the ethics of the \u201ccoginitive capitalism\u201d takes advantage of the fragility provoked by the subjective deterritorialization in order to offer other territories already made and constituted by its images which promise the paradise in this world as long as we invest all our vital energy \u2013 desire, affect, knowledge, intellect, imagination and action – to update in our existence these virtual worlds made of signs, through the consumption of objects and services that they themselves propose to us. The anthropophagic ethics proposes the construction of territories based on the urgencies indicated by the sensations – or if, the signs of presence of the other in our vibratile body. It\u2019s around these signs and their reverberation in the subjectivities which breathe the same historical air that possible stances in the individual and collective existence are disclosed.<\/p>\n


\nWhat does Brazil have to offer?<\/strong><\/p>\n

Dance is a form of knowledge, whose dynamic nature is at the same time an elaborated way of subjectivity. And the reflection on it is a system of thought and also an action. Both modes of expression \u2013 choreographic and critical \u2013 compete in the universes of the micropolitics of power for a will to truth and they have as endemic reality the rules of the \u201ccognitive capitalism\u201d. The political anthropophagic body could be a possible alternative to the hypnotic and alienating effects consequents of this context.<\/p>\n

In an anthropophagic perspective, knowledge would be diffused by the devouring of the other\u2019s force and a choreographic piece would always celebrate an anthropophagic banquet of ideas. Free from repression, the identities, based on flexible subjectivations towards the sensibility of the presence of the other in our vibratile body, wouldn\u2019t either wait for a paternal providence to solve the conflicts or search for paradise. The emergence of such a practice would represent an unpredictable effect of small perforations in the compact mass of the dominant brutality that involves the planet nowadays.<\/p><\/div>\n<\/div>\n

<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Paulo Paix\u00e3o fala sobre “degluti\u00e7\u00e3o”, pensamento e a\u00e7\u00e3o em dan\u00e7a<\/span>Paulo Paix\u00e3o talks about “swallowing”, thought and action in dance<\/span><\/p>\n","protected":false},"author":81,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[],"yoast_head":"\nPol\u00edtica antropof\u00e1gica do corpo | Anthropophagic politics of the body -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/antropofagia-corpo-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pol\u00edtica 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