Performances políticas e artivismo
Arquivo, repertório e re-performance
DOI:
https://doi.org/10.48006/2358-0097/V8N1.E8119Keywords:
artivismo, arte, política, arquivo, repertório, re-performanceAbstract
In this paper we aim to reflect tentatively and to start an itinerary of conceptual definition of a neologism - artivism - still of unstable consensus both in the field of social sciences and in the field of arts. Here, we undertake a search for the meanings and tensions that this concept has provoked in the debates that articulate art and politics. We aim to understand how political performances take on aesthetic dimensions and, in parallel, how artistic practices position themselves politically. The concepts of archive and repertoire (Diana Taylor, 2003), of reperformance (Diana Taylor 2016) and restored behaviour (Richard Schechner 1981) will be explored in the light of the notion of hashtag politic or hashtag activism- chain propagation of political-aesthetic protests/gestures founded on principles and rules of digital communication as a cultural object that perpetuates the political agenda in the public sphere and bridges activist personal and collective experiences.
References
ANDERSON, Chris. 2012. Makers: A New Industrial Revolution. Crow Business: New York.
BAYRAKTER, Sevi. 2017. “Coreografias de resistência no movimento do parque Gezi de 2013, na Turquia”. PAIS, Ana. (Org.). Performance na Esfera Pública. Orfeu Negro, Lisboa. p. 95-106.
BISHOP, Claire. 2012. Artificial hells: participatory art and the politics of spectatorship. Verso Books, Londres.
BLANES, Ruy; FLYNN, Alex; MASKENS, Maïté; TINIUS, Jonas. 2016. “Micro-utopias: anthropological perspectives on art, relationality, and creativity”, Cadernos de Arte e Antropologia, v. 5, n. 1: 5-20. DOI: https://doi.org/10.4000/cadernosaa.1017
BOURRIAUD, Nicolas. 2009. A estética relacional. Martins Fontes: São Paulo.
BUTLER, Judith. 2004 [2019]. Vida Precária: os poderes do luto e da violência. Autêntica: Belo Horizonte e São Paulo.
BUTLER, Judith. 2015 [2018]. Corpos em aliança e a política das ruas. Civilização Brasileira: Rio de Janeiro.
CASTELLS, Manuel. 1997 [2009]. The Information Age: economy, society, and culture. Malden: Blackwell.
DI GIOVANI, Julia Ruiz. 2015. Artes de abrir espaço. Apontamentos para a análise de práticas em trânsito entre arte e ativismo, Cadernos de Arte e Antropologia, v.4, n. 2, p. 13-27. DOI: https://doi.org/10.4000/cadernosaa.911
DOBRIN, Diana. 2020.The Hashtag in Digital Activism: A Cultural Revolution. Journal of Cultural Analysis and Social Change, v.5, n. 1: 1-14. DOI: https://doi.org/10.20897/jcasc/8298
FOUCAULT, Michel. 1976 [2018]. Nascimento da Biopolitica. Lisboa: Ed. 70.
GRABNER, David. 2009. Direct Action: An Ethnography. Oakland: AK Press.
GUTIÉRREZ, Gustavo. 1983. The Power of the Poor in History. New York: OrbisBooks Maryknoll.
HEAD, Scott. 2019. Buraco negro e buraco branco: deslocamentos do olhar desde uma luta dançada em três atos. DOMÍNGUEZ, María Emilia; MONTARDO, Deise Lucy Oliveiro (Orgs.). Arte, Som e Etnografia. Florianópolis: Ed. UFSC, p 302-324. Disponível em: https://doi.org/10.5007/978-65-5805-041-4. Acesso em: 12/03/2022.
INGOLD, Timothy. 2014. The creativity of undergoing, Pragmatics and Cognition, v. 22, n. 1: 124-139. DOI: https://doi.org/10.1075/pc.22.1.07ing
INGOLD, Timothy; HALLAM, Ellen. 2007. Creativity and cultural improvisation: An introduction. In: Creativity and Cultural Improvisation. Oxford: Berg. p. 1–24. DOI: https://doi.org/10.4324/9781003135531-1
JURIS, Jeffrey S. 2005. The New Digital Media and Activist Networking within Anti-Corporate Globalization Movements. Annals of the American Academy of Political and Social Science, n. 597: 189–208. DOI: https://doi.org/10.1177/0002716204270338
JURIS, Jeffrey S. 2012. Reflections on #Occupy Everywhere: social media, public space, and emerging logics of aggregation. American Ethnologist, v. 39, n. 2:259-279. DOI: https://doi.org/10.1111/j.1548-1425.2012.01362.x
KESTER, Grant. 2011. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham e London: Duke University Press. DOI: https://doi.org/10.1515/9780822394037
KRENAK, Ailton. 2019. Ideias para adiar o fim do mundo. São Paulo: Cia. das Letras.
LAGROU, Els. 2021. Revelar e ocultar: políticas estéticas e ontologias relacionais no universo ameríndio”.
DOMÍNGUEZ, María Emilia; MONTARDO, Deise Lucy Oliveiro (Orgs.). Arte, Som e Etnografia. Florianópolis: Ed. UFSC, p. 14-29. E-book Disponível em: https://doi.org/10.5007/978-65-5805-041-4. Acesso em: 12/03/2022. DOI: https://doi.org/10.5007/978-65-5805-041-4
LEPECKI, André. 2011. Coreo-política e coreo-polícia. Ilha – Revista de Antropologia, v. 13, n.1-2:41-60. DOI: https://doi.org/10.5007/2175-8034.2011v13n1-2p41
MBEMBE, Achille. 2011 [2018]. Necropolítica. São Paulo: n-1.
MIZRAHI, Mylene. 2020. “Funk é cultura?: arte, racismo e nação na criminalização de um ritmo musical”.
METAXY: Revista Brasileira de Cultura e Políticas em Direitos Humanos, Rio de Janeiro, v. 3, n. 1: 40-59.
NADAI, Carolina Camargo de. 2017. Gambiarração: poéticas em composição coreográfica, Tese – Doutorado em Artes Cênicas (Programa de Pós-Graduação em Artes Cênicas). Escola de Comunicação e Artes, Universidade de São Paulo.
PHELAN, Peggy. 1996. Unmarked. London and New York: Routledge.
RANCIÉRE, Jacques. 2010 [2000]. Estética e política: a partilha do sensível. Porto: Dafne.
RAPOSO, Paulo. 2015. ‘Artivismo’: articulando dissidências, criando insurgências. Cadernos de Arte e Antropologia, v. 4, n. 2: 3-12. DOI: https://doi.org/10.4000/cadernosaa.909
RAPOSO, Paulo. 2016. A ‘Revolta das Barcas’: sobre silenciamento performativo e imaterialidade do protesto na (in)visibilidade contemporânea das periferias urbanas. GIS - Gesto, Imagem e Som - Revista de Antropologia, v. 1, n. 1:59-88. DOI: https://doi.org/10.11606/issn.2525-3123.gis.2016.116348
RIBAS, Cristina. 2014. (Org.). Vocabulário político para processos estéticos. Rio de Janeiro: Funarte/ Creative Comuns. Disponível em:
http://vocabpol.cristinaribas.org/wpcontent/uploads/2015/01/vocabpol_links-completo.pdf. Acesso em: 23/02/2022.
SAFATLE, Vladimir Pinheiro. 2020. Para além da necropolítica: considerações sobre a gênese e os efeitos do Estado suicidário. s.n. n-1 edições. Disponível em: https://www.n-1edicoes.org/textos/191. Acesso: 12/03/2022.
SAFATLE, Vladimir Pinheiro (s/d). Bem vindo ao estado suicidário. ConTactos Diana Taylor e Marcial GodoyAnativia (Org.) HemiPress. Disponível em: https://contactos.tome.press/bem-vindo-ao-estadosuicidario/?lang=pt-br. Acesso: 12/03/2022
SANDOVAL, Chela; LATORRE, Guisela. 2008. Chicana/o Artivism: Judy Baca's digital work with youth of color. EVERETT, Anna. (Org.). Learning Race and Ethnicity: youth and digital media. Cambridge: MIT Press. p. 81-108
SANSI, Roger. 2015. Art, Anthropology and the Gift. Londres: Bloomsbury.
SCHECHNER, Richard. 1981. Restoration of behavior. Studies in Visual Communication, v. 7, n. 3: 2-45. DOI: https://doi.org/10.1111/j.2326-8492.1981.tb00127.x
SCHECHNER, Richard. 2012. Perform: save the world. Study: remake the World. Talk at Performing the World 2012 Conference. East Side Institute, Nova Iorque. Disponível em: https://vimeo.com/54675823. Acesso em: 12/03/2022.
TAYLOR, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press. DOI: https://doi.org/10.2307/j.ctv11smz1k
TAYLOR, Diana. 2016. “Saving the “Live”? Reperformance and Intangible Cultural Heritage”. Études anglaises, v. 69, n. 2:149-161. DOI: https://doi.org/10.3917/etan.692.0149
TRAVERSO, Enzo. 2005 [2020]. O Passado, modos de usar: história, memória e política. Lisboa: Tigre de Papel.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Novos Debates
This work is licensed under a Creative Commons Attribution 3.0 Unported License.
Open Access Statement
Novos Debates is an open access journal. We do not charge any fee for the publication of articles or for access to our issues. All our content, unless otherwise indicated, is licensed under Creative Commons Brazil Attribution 3.0 (CC BY 3.0 BR).
You are free to:
– Share — copy and redistribute the material in any medium or format
– Adapt — remix, transform, and build upon the material for any purpose, even commercially
– The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
– Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
– No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
