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Moving OtherwiseDance, Violence, and Memory in Buenos Aires$
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Victoria Fortuna

Print publication date: 2019

Print ISBN-13: 9780190627010

Published to Oxford Scholarship Online: December 2018

DOI: 10.1093/oso/9780190627010.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 13 November 2019

Dance as the Art of Survival

Dance as the Art of Survival

Chapter:
(p.79) chapter 3 Dance as the Art of Survival
Source:
Moving Otherwise
Author(s):

Victoria Fortuna

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190627010.003.0004

This chapter demonstrates how contemporary dance moved otherwise as a strategy of survival during the last military dictatorship (1976–83), a period synonymous with the forced disappearance of an estimated 30,000 people (desaparecidos) accused of political “subversion.” During this period, contemporary dance offered protected spaces in studios, schools, and professional companies for negotiating bodily autonomy as dictatorial terror restricted quotidian movement. The chapter also examines expresión corporal (corporeal expression), a movement practice that expanded during the dictatorship. Outside of the studio, it considers how the Danza Abierta festival staged community, cohesion, and endurance during the waning years of the dictatorship. Lastly, the chapter examines Renate Schottelius’s Paisaje de gritos (Landscape of Screams, 1981) and Alejandro Cervera’s Dirección obligatoria (One Way, 1983), works that premiered at the San Martín Theater in the later years of the dictatorship and addressed the experience and violence of the military dictatorship.

Keywords:   dictatorship, desaparecido, expresión corporal, Danza Abierta, San Martín Theater, Renate Schottelius, Alejandro Cervera, Dirty War, Nucleodanza, Ana Kamien

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