Assombro: corpo que dança em suas travessias tumultuadas

Abstract

This research weaves relations between dance and genre subsidized by propositions that involve astonishment, turbulence, tumultuous crossings, articulated to the choreographic works: Valentar, Corre Bixa Corre, Guiança and Devorar, as they constitute a feedback between artistic making and academic research. Haunting is treated as impregnation in the body, of one's own experiences or of experiences of other bodies, as well as by the occurrence of events linked to the body's memories. By bringing binarity as a norm that does not serve all bodies, ambiguity is discussed as the place of the undefined, of the body expressing itself in a state of transience, since it does not fit with fixed ideas of itself, which slips into a continuous tumultuous crossing. The body dances the astonishments in consonance with its provisionality, because it is always to be made, and so it is expressed in the act of dancing. Astonishment, as the core of the research, moves away from the idea of paralysis and becomes an ignition to dance in the face of the violence suffered by subalternized bodies considered abject. It proposes to face the haunts, understanding them as a materiality that constitutes and composes the body in the act of dancing. Her dance is also her political discourse of existence, since it pronounces not only the visibility of her transitory materiality, but also establishes estrangements. Such confrontation is done with courage, and this is the condition for continuing to exist. Gender, in its hermetic definition, as well as the correlated haunts that arise in the insistence on framing and imprinting standardized modes, are indicted, but refuted. Dance stirs the concreteness, the turbulences, the astonishments, attesting to its malleability and a constant making of the body. Bodies outside the norm, which dance leading them to confront the regulatory certainties imposed on their flesh. The inadequacy governed by the system of norms promotes turbulence in the bodies and activates other contours. This research is built in an open way, in line with the written and danced arguments, which problematize bodies that are harassed and vulnerable. The action verbs: valentar, correr, guiar and devorar are conditions for the survival of the bixas bodies, because this research does not walk alone, but with a collective that suffers correlated violence. In dance, verbal actions are configured as a political act, exposing in the flesh another type of corporeal materiality by/in movement. In facing the haunts of ordinary life, the crossings are turbulent. The follows, runs and dances: she insists not to die and refuses not to be haunted.