La estética de lo múltiple: bailes, formas y multitud
Abstract
Este artículo relaciona la estética del baile en la entrada folklórica con la teoría de la multitud en Hardt y Negri. La posibilidad real de una verdadera práctica descolonizadora no puede sino vivir alejada de los mecanismos de poder: ni en lo ideológico, ni en las formas liberales de la democracia formal, sino en el espacio productor de sentidos sociales de la cultura, entendida en este caso como fiesta. El despliegue de las formas de los cuerpos que bailan al interior de la entrada folklórica es la comprensión total de lo "múltiple", forma diferenciada de la "multitud" de la que hablan Hardt y Negri. No los mueve, a los participantes, una proyección ideológica, ni hay discurso político de poder. Se trata de un contacto de cuerpos con otros cuerpos en el despliegue de un sensorium específico, el sensorium de lo colectivo como posibilidad descolonizadora
This article tries a relationship between the aesthetic of the Folkloric parade and the theory of multitude in Hardt and Negri. Is not possible a real decolonizing practice if we don't think this idea away from the traditional mechanisms of power: neitherthe ideological apparatus nor the liberal institutions of formal democracy, but within the space where the social meaning is produced as "fiesta" (celebration). The deployment, composition and movement of the bodies dancing in the folkloric parade is the solid understanding of the theory of "multiple", a different comprehension that I propose about the idea of "multitude" in Hardt and Negri. Is not an ideological project what moves the dancers and crowd within an anti-authoritarian phenomenon as the parade. Bodies touching and felling other bodies, the parade develops an specific sensorium, the sensorium of the social as decolonizing practice
This article tries a relationship between the aesthetic of the Folkloric parade and the theory of multitude in Hardt and Negri. Is not possible a real decolonizing practice if we don't think this idea away from the traditional mechanisms of power: neitherthe ideological apparatus nor the liberal institutions of formal democracy, but within the space where the social meaning is produced as "fiesta" (celebration). The deployment, composition and movement of the bodies dancing in the folkloric parade is the solid understanding of the theory of "multiple", a different comprehension that I propose about the idea of "multitude" in Hardt and Negri. Is not an ideological project what moves the dancers and crowd within an anti-authoritarian phenomenon as the parade. Bodies touching and felling other bodies, the parade develops an specific sensorium, the sensorium of the social as decolonizing practice
Description
No. 37