H-ART. Revista de historia, teoría y crítica de arte

hart. Rev. Hist. Teor. Crit. Arte | eISSN 2590-9126 | ISSN 2539-2263

Gesturing Refugees: ¿participación, afecto, luego acción?

No. 8 (2021-01-01)
  • Farah Saleh
    Is a Palestinian dancer and choreographer active in Palestine, Europe and the US. She has studied linguistic and cultural mediation in Italy and in parallel continued her studies in contemporary dance. Since 2010 she took part in local and international projects with Sareyyet Ramallah Dance Company (Palestine), the Royal Flemish Theatre and Les Ballets C de la B (Belgium), Mancopy Dance Company (Denmark/Lebanon), Siljehom/Christophersen (Norway) and Candoco Dance Company (UK). Also since 2010, Saleh has been teaching dance, coordinating and curating artistic projects with the Palestinian Circus School, Sareyyet Ramallah and the Ramallah Contemporary Dance Festival. In 2016 she co-founded Sareyyet Ramallah Dance Summer School, which runs on a yearly basis. In 2014 she won the third prize of the Young Artist of the Year Award (YAYA) organized by A.M. Qattan Foundation in Palestine for her installation A Fidayee Son in Moscow and in 2016 she won the dance prize of Palest’In and Out Festival in Paris for the duet La Même. She is currently an Associate Artist at Dance Base in Edinburgh, UK, and is a PhD student in Art at Edinburgh College of Art, University of Edinburgh, UK.
https://doi.org/10.25025/hart08.2021.05

Resumen

En este artículo analizo, a partir de una investigación basada en la práctica, cómo la performance participativa Gesturing Refugees, que se propone desenterrar narrativas alternativas de refugiados utilizando los cuerpos de los artistas y miembros del público, contribuye al intercambio entre las subjetividades presentes en el espacio de la obra, a la creación de una responsabilidad futura y a la posibilidad de una acción después de la obra. Explico también cómo una performance puede convertirse en un evento a partir de la participación de un público compuesto por singularidades que forman un colectivo y a quienes se insta a sentir y pensar de manera conjunta, a través de una serie de micro shocks. Además, reflexiono sobre cómo el evento permite a la audiencia experimentar las historias y gestos alternativos de los refugiados al recrear, transformar y deformar esos gestos en sus propios cuerpos. Esto los lleva más allá del espacio de la performance y a crear una vida más allá del evento que podría materializarse de diferentes formas y en diferentes grados.

Palabras clave: refugiados, archivos, gestos, participación, afecto, acción

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