Forced secularization and postmodern discourses within contemporary performance : weaponizing multicultural rhetoric to ratify asymmetries among dance practitioners

In the context of the multicultural and postmodern rhetoric of contemporary art festivals, we examine a case study in which the Hungarian choreographer Eszter Salamon appropriates Mapuche practices—the kawell tayil and the choike purrún—in her piece Monument 0.6: Landing (A Ritual of Empathy) (2017). We analyze the discursive and embodied dimensions of this borrowing and its harmful consequences for indigenous communities. We show how the postmodern values of secular art institutions and the legal limitations to protect indigenous ritual expressions contribute to these dynamics. Adopting an op... Mehr ...

Verfasser: Poveda Yánez, Jorge
Corado, Beatriz Herrera
Mendizábal, María
Dokumenttyp: journalarticle
Erscheinungsdatum: 2022
Schlagwörter: Performing Arts / Visual Arts and Performing Arts / Belgium / Mapuche Nation / Contemporary Dance / Performance Art / Secularization / Multiculturalism / curatorial practices / appropriation / postmodern dance
Sprache: Englisch
Permalink: https://search.fid-benelux.de/Record/base-26981716
Datenquelle: BASE; Originalkatalog
Powered By: BASE
Link(s) : https://biblio.ugent.be/publication/8745485

In the context of the multicultural and postmodern rhetoric of contemporary art festivals, we examine a case study in which the Hungarian choreographer Eszter Salamon appropriates Mapuche practices—the kawell tayil and the choike purrún—in her piece Monument 0.6: Landing (A Ritual of Empathy) (2017). We analyze the discursive and embodied dimensions of this borrowing and its harmful consequences for indigenous communities. We show how the postmodern values of secular art institutions and the legal limitations to protect indigenous ritual expressions contribute to these dynamics. Adopting an optimistic stance, we outline criteria for curatorial practices that could prevent further misuses of indigenous culture.