Publication: El valor narrativo de la comunicación en la danza contemporánea: habitus, musicalidad y emoción
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2016
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Universidad Complutense de Madrid
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Abstract
La riqueza de la danza viene de la necesidad de trabajar con cuerpos. Pero el cuerpo del bailarín pertenece a un contexto plural, cruzado por tradiciones artísticas y sociales que posiciona el artista en un campo determinado. Partimos de la premisa de que el conflicto de roles es un componente esencial de la estructura de la creación artística colectiva. Analizamos los discursos de los miembros de una compañía de danza inglesa, parte del proyecto etnográfico ‘Dance and Cognition’, dirigido por David Kirsh de la Universidad de California, junto con la WayneMcGregor-Random Dance Company. Aplicamos un Análisis Crítico del Discurso a un corpus de entrevistas enfocadas en las emociones, la música y la danza. Demostramos cómo la creatividad en danza se puede observar empíricamente, como un producto social distribuido y corpóreo, articulado por el habitus de la danza.
The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.
The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.