Dançar sobre ruínas: a potência política da dança de Marta Soares

Abstract

Is there a political power in dance? The present research focuses on this question. Crossing the boundaries between body, dance and politics, however, created a demand to investigate how politics can be exerted in a variety of means. Following the compositional paths of dance artist Marta Soares was the key to situating dance in its political potency. The lines that traverse her dance practice go beyond the traditional relationship between politics and the law, institutions and contracts all of which constitute the problematic of the sovereignty. The potency of dance was then taken as an opening of the body. An opening to the multiple contaminations that drag it beyond the territories understood by the Subject. The dance of Marta Soares utilizes the tensions of the efficient body and the virtuosic movement belonging to most dance techniques in order to create a tension in the practice of political participation and democracy, practices that have become immobilized in the State. The study of the lines composing the aesthetic field of this dance artist proposes to emphasize and affirm movement no longer as dislocation of the body in space as in the traditional sense of choreography but rather to affirm movement as a means for composing art and life. Dancing appears then as a composition for new ways of life, freer and more exuberant ways that can transform the body into a passage, rather than a starting or endpoint for movement