La Pièce Chorégraphique Hacia de Paloma Bianchi comme Pratique du Perspectivisme Amérindien

Autor: Diana Delgado-Ureña Díez

Publikováno v: Brazilian Journal on Presence Studies; v. 11, n. 2 (2021): Abr./Jun. 2021; 01-20
Révue Brésilienne d'Études de la Présence; v. 11, n. 2 (2021): Abr./Jun. 2021; 01-20
Revista Brasileira de Estudos da Presença; v. 11, n. 2 (2021): Abr./Jun. 2021; 01-20
Brazilian Journal on Presence Studies; Vol. 11 No. 2 (2021): Abr./Jun. 2021; 01-20
Révue Brésilienne d'Études de la Présence; Vol. 11 No. 2 (2021): Abr./Jun. 2021; 01-20
Révue Brésilienne d'Études de la Présence; Vol. 11 No 2 (2021): Abr./Jun. 2021; 01-20
Revista Brasileira de Estudos da Presença; v. 11 n. 2 (2021): Abr./Jun. 2021; 01-20
Revista Brasileira de Estudos da Presença
Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
Revista Brasileira de Estudos da Presença, Volume: 11, Issue: 2, Article number: e102528, Published: 15 FEB 2021
Revista Brasileira de Estudos da Presença, Vol 11, Iss 2, Pp 01-20 (2021)

This text analyzes Hacia (2019) as a critical choreographic device facing the problem of disenchantment of the world derived from the separation between nature and culture inherited from Modernity/coloniality. Hacia puts into practice two notions of

Externí odkaz: https://explore.openaire.eu/search/publication?articleId=doi_dedup___::748d9bfd717ebad0788f122b8a3c1c0d
https://seer.ufrgs.br/presenca/article/view/110556