“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | ArtCultura (Online) |
Texto Completo: | https://seer.ufu.br/index.php/artcultura/article/view/64096 |
Resumo: | Various historical changes have taken place since that circus, currently classified as a “traditional” circus, which was reproduced from generation to generation and characterized by its itinerancy. In these transformation processes, legitimate ways of doing circus are disputed, which, in Argentina, as well as in other territories, are characterized by a dynamic tension between tradition and innovation, between the past, the present and the future. In addition, these processes involve debates about the classifications of the artistic genre style – fundamentally between the so-called traditional circus, the new circus, the contemporary circus –, as well as in relation to the place occupied by technique, body, artistic message and creativity, generating tensions around the possibilities and limits in the processes of artistic resignification. Therefore, the objective of this article is to analyse the debates around the possibilities of resignification of the circus that have been developing in at least the last three decades in Argentina. Historical sources will be used together with data from different ethnographic researches that I have been developing together with circus artists in the last decades. |
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“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina“El circo que hacemos hoy”: posibilidades, recorridos y límites en la resignificación del arte circense en Argentinacircoprocesos de resignificacióntradicióncircusresignification processestraditionVarious historical changes have taken place since that circus, currently classified as a “traditional” circus, which was reproduced from generation to generation and characterized by its itinerancy. In these transformation processes, legitimate ways of doing circus are disputed, which, in Argentina, as well as in other territories, are characterized by a dynamic tension between tradition and innovation, between the past, the present and the future. In addition, these processes involve debates about the classifications of the artistic genre style – fundamentally between the so-called traditional circus, the new circus, the contemporary circus –, as well as in relation to the place occupied by technique, body, artistic message and creativity, generating tensions around the possibilities and limits in the processes of artistic resignification. Therefore, the objective of this article is to analyse the debates around the possibilities of resignification of the circus that have been developing in at least the last three decades in Argentina. Historical sources will be used together with data from different ethnographic researches that I have been developing together with circus artists in the last decades.Diversos cambios históricos se sucedieron desde aquel circo, clasificado hoy como circo “tradicional”, que se reproducía de generación en generación y que se caracterizaba por su itinerancia. En estos procesos de transformación se disputan las maneras legítimas de hacer circo, que, en Argentina, así como en otros territorios, se caracterizan por una tensión dinámica entre la tradición y la innovación, entre el pasado, el presente y el futuro. Asimismo, dichos procesos involucran debates acerca de las clasificaciones de estilos/modalidades del género artístico – fundamentalmente entre el llamado circo tradicional, el nuevo circo, el circo contemporáneo –, así como en relación con el lugar que ocupan la técnica, el cuerpo, las proezas, el mensaje artístico y la creatividad/originalidad, generando tensiones en torno a las posibilidades y límites en los procesos de resignificación artística. Por consiguiente, el propósito de este trabajo es analizar los debates que se vienen desarrollando en torno a las posibilidades de resignificación del circo por lo menos desde las últimas tres décadas en Argentina. Para ello, trabajaré con fuentes históricas junto con los datos provenientes de los diferentes trabajos etnográficos que realizé junto a artistas circenses en las últimas décadas.Universidade Federal de Uberlândia2021-12-24info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufu.br/index.php/artcultura/article/view/6409610.14393/artc-v23-n43-2021-64096ArtCultura; Vol. 23 No. 43 (2021): ArtCultura; 242-261ArtCultura; Vol. 23 Núm. 43 (2021): ArtCultura; 242-261ArtCultura; v. 23 n. 43 (2021): ArtCultura; 242-2612178-3845reponame:ArtCultura (Online)instname:Universidade Federal de Uberlândia (UFU)instacron:UFUporhttps://seer.ufu.br/index.php/artcultura/article/view/64096/33005Infantino, Julieta info:eu-repo/semantics/openAccess2023-12-01T18:57:55Zoai:ojs.www.seer.ufu.br:article/64096Revistahttp://www.seer.ufu.br/index.php/artcultura/indexPUBhttps://seer.ufu.br/index.php/artcultura/oaiakparanhos@uol.com.br||2178-38452178-3845opendoar:2023-12-01T18:57:55ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)false |
dc.title.none.fl_str_mv |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina “El circo que hacemos hoy”: posibilidades, recorridos y límites en la resignificación del arte circense en Argentina |
title |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina |
spellingShingle |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina Infantino, Julieta circo procesos de resignificación tradición circus resignification processes tradition |
title_short |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina |
title_full |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina |
title_fullStr |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina |
title_full_unstemmed |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina |
title_sort |
“The circus we do today”: possibilities, trajectories and limits in the resignification of circus art in Argentina |
author |
Infantino, Julieta |
author_facet |
Infantino, Julieta |
author_role |
author |
dc.contributor.author.fl_str_mv |
Infantino, Julieta |
dc.subject.por.fl_str_mv |
circo procesos de resignificación tradición circus resignification processes tradition |
topic |
circo procesos de resignificación tradición circus resignification processes tradition |
description |
Various historical changes have taken place since that circus, currently classified as a “traditional” circus, which was reproduced from generation to generation and characterized by its itinerancy. In these transformation processes, legitimate ways of doing circus are disputed, which, in Argentina, as well as in other territories, are characterized by a dynamic tension between tradition and innovation, between the past, the present and the future. In addition, these processes involve debates about the classifications of the artistic genre style – fundamentally between the so-called traditional circus, the new circus, the contemporary circus –, as well as in relation to the place occupied by technique, body, artistic message and creativity, generating tensions around the possibilities and limits in the processes of artistic resignification. Therefore, the objective of this article is to analyse the debates around the possibilities of resignification of the circus that have been developing in at least the last three decades in Argentina. Historical sources will be used together with data from different ethnographic researches that I have been developing together with circus artists in the last decades. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-12-24 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://seer.ufu.br/index.php/artcultura/article/view/64096 10.14393/artc-v23-n43-2021-64096 |
url |
https://seer.ufu.br/index.php/artcultura/article/view/64096 |
identifier_str_mv |
10.14393/artc-v23-n43-2021-64096 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://seer.ufu.br/index.php/artcultura/article/view/64096/33005 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Uberlândia |
publisher.none.fl_str_mv |
Universidade Federal de Uberlândia |
dc.source.none.fl_str_mv |
ArtCultura; Vol. 23 No. 43 (2021): ArtCultura; 242-261 ArtCultura; Vol. 23 Núm. 43 (2021): ArtCultura; 242-261 ArtCultura; v. 23 n. 43 (2021): ArtCultura; 242-261 2178-3845 reponame:ArtCultura (Online) instname:Universidade Federal de Uberlândia (UFU) instacron:UFU |
instname_str |
Universidade Federal de Uberlândia (UFU) |
instacron_str |
UFU |
institution |
UFU |
reponame_str |
ArtCultura (Online) |
collection |
ArtCultura (Online) |
repository.name.fl_str_mv |
ArtCultura (Online) - Universidade Federal de Uberlândia (UFU) |
repository.mail.fl_str_mv |
akparanhos@uol.com.br|| |
_version_ |
1797069138524372992 |