Marcelo de Andrade Pereira, Professor, Associate-editor, Santa Maria, RS, Brazil
If there are two key aspects, among many others, to understand the research in scenic arts and the decolonial theme, we can say that the first one concerns the fact that much of the research in the area calls itself “poetics research” (BRITES and TESSLER, 2002). This means that we are facing a type of research in which the researcher coincides with the artist. To put it in another way, it is from its own creation process that the research is materialized. Thus, we are not facing a research “about” art, but “on” art, i.e., the creation process itself is the research. This perspective is linked to the decolonial perspective, since, once again, it places artists in the place of speech (and action/ intervention) of knowledge production and no longer (or not only) as study objects by non-artist specialists.
The second aspect concerns the topics dear to the resistance process, to subordinateness and to prejudices of all kinds (QUIJANO, 2005). Here, in this research field, gender relations and issues have been central. They show, for example, that gender, among other possibilities, is not a naturalized category and as social construction may and should be taken as the body’s political device.
These two aspects and a few others are central to the study “Representing the hyphen,” published in the Brazilian Journal on Presence Studies (v.8, n. 4), by New Zealand researcher and artist Miki Seifert, who works specifically with the Butoh dance. In the sequence, she presents her research work and shows images of the show, object of her article.
Reference
BRITES, B. and TESSLER, E. O meio como ponto Zero. Porto Alegre: UFRGS, 2002.
QUIJANO, A. Colonialidade do poder, Eurocentrismo e América Latina. In: LANDER, Edgardo (Org.). A colonialidade do saber: eurocentrismo e ciências sociais. Perspectivas latino-americanas. Buenos Aires: CLACSO, 2005. p. 116-142.
To read the article, access
SEIFERT, M. Performing the Hyphen. Rev. Bras. Estud. Presença [online]. 2018, vol.8, n.4, pp.691-718. ISSN 2237-2660. [viewed 11 October 2018]. DOI: 10.1590/2237-266078758. Available from: http://ref.scielo.org/5ndj5n
Marcelo de Andrade Pereira holds a PhD in Education from the Universidade Federal University do Rio Grande do Sul. He is a tenured professor of the Postgraduate Program in Education at the Universidade Federal de Santa Maria, RS, working in the area of arts and philosophy. Has experience in Philosophy – with emphasis on Aesthetics – and Education. He works with the following subjects: aesthetic education, critical-performative pedagogy, dance-theater and performance. He is a Productivity Fellow at CNPq. e-mail: marcelo.pereira@ufsm.br
About Miki Seifert
Miki Seifert
Miki Seifert is the artistic director of With Lime (interdisciplinary arts company of Wellington). She received a New Zealand International Doctoral Research Scholarship and is the recipient of the Victoria Postgraduate Research Excellence Award, having completed her PhD at Te Kawa a Māui / School of Maori Studies at Victoria University of Wellington in 2011. She grew up in Bethlehem, Pennsylvania, having been a gymnast and circus trapeze artist. E-mail: mikiseifert@withlime.co.nz
PEREIRA, M. A. Dance, performance and gender [online]. SciELO in Perspective: Humanities, 2018 [viewed ]. Available from: https://humanas.blog.scielo.org/en/2018/10/25/dance-performance-and-gender/
If there are two key aspects, among many others, to understand the research in scenic arts and the decolonial theme, we can say that the first one concerns the fact that much of the research in the area calls itself “poetics research” (BRITES and TESSLER, 2002). This means that we are facing a type of research in which the researcher coincides with the artist. To put it in another way, it is from its own creation process that the research is materialized. Thus, we are not facing a research “about” art, but “on” art, i.e., the creation process itself is the research. This perspective is linked to the decolonial perspective, since, once again, it places artists in the place of speech (and action/ intervention) of knowledge production and no longer (or not only) as study objects by non-artist specialists.
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