DANÇA AUTOBIOGRÁFICA – MULTIVOCALIDADE DO SELF ENCENADO A PARTIR E ALÉM DA CARNE NEGRA

Abstract

An autobiographical dance is here argued and conceived as a dance that stages the self. This study presents a single case study, with the purpose of investigating how an autobiographic dance proposal may evoke a shared space between the particular universe of the creator and that of those who watch the dance. The chosen case here studied was the choreographic piece of Luiz de Abreu entitled O samba do crioulo doido (Samba of the mad black man, 2004). Data collection included observation and analysis of the chosen choreography’s video recording, a non structured interview with the author, as well as documental analysis. Results revealed that: a) the staged self is structured upon multiple voices, operating in an ongoing flow between author and audience, either through related cultural identifications, or through the subversive potential of the work, replacing the audience face to face to its own identity issues; b) this flow reassures a perspective of a shared self, and not of a radical subjectivism; c) this favors shared collective actions, discarding the need for strategies of identity self affirmation, common, above all, in minorities’ collectives; from this perspective d) the auto-biographic dance contributes for a recognition of human identity, in the complexity sense, presenting universal conditioned aspects of movement in the direction of the singularities, in a heterogeneous multiplicity, however, capable of being captured as a unity.