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Thematic Section: The diversity of theatrical dance in Portugal

Vol. 2 No. 2 (2024): Revista Estud(i)os de Dança 4

From the place that dances us to the place that makes us dance: Poetics of emancipation in Portugal

DOI
https://doi.org/10.53072/RED202402/00203

Abstract

Based on the critical analysis of the performance Nome de Filme by Bibi Dória, namely on two of its presentations – the program Interferências in 2021 and the cycle Cartografias in 2023 – in this paper, I begin by identifying the growing presence of a set of migrant artists whose work has been manifested marginally to the historical chain of contemporary dance in Portugal. In this sense, I develop the notion of geodance to refer to the canonical forces that seek to establish cause-and-effect relationships between artistic practices and the sociocultural legacy of the territory where they are located, recognizing, through a survey of existing studies, the specific contours of the national landscape.

It is through this critical confrontation that I reinforce the idea of ​​the emergence of a nomadic practice – for the definition of which I resort to the thought of Rosi Braidotti – which has been occupying a space of counter-memory and resistance to the processes of epistemological sedimentation of a possible genealogy of dance in Portugal. In this context, I address the relevance of the political positioning around emerging issues, the interdisciplinary nature of these proposals, and, consequently, the need to look at contemporary dance from a perspective that is transversal to the study of performing arts.

The perspective that guides my writing is that of the involved spectator, particularly on Bibi Dória's performance, thus trying to situate the place from which I see things. Not only to be able to offer myself as a correspondent of that same primordial movement of wandering but also to open other possibilities of listening and cognitive sensibilities regarding these poetics of territorial emancipation.

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