Hostname: page-component-8448b6f56d-m8qmq Total loading time: 0 Render date: 2024-04-19T10:32:50.723Z Has data issue: false hasContentIssue false
  • English
  • Français

Dancing Argentine Modernity: Imagined Indigenous Bodies on the Buenos Aires Concert Stage (1915–1966)

Published online by Cambridge University Press:  18 August 2016

Victoria Fortuna
Get access Rights & Permissions [Opens in a new window]

Abstract

This article argues that the unrealized ballet Caaporá (1915), conceived for choreography by Vaslav Nijinsky, and Oscar Araiz's La consagración de la primavera (1966, The Rite of Spring) fundamentally shaped the establishment and reimagination of concert dance as a site of modernity in Argentina. Both works danced modernity through imagined pre-Columbian indigenous myths choreographed in Euro-American concert dance forms. In Argentina, “unmarked” ballet and modern dance forms signaled a universalized cultural advancement aligned with the West, while indigenous myths staged “marked” Latin American origins that held racial difference at a distance from the modern present. Caaporá and Consagración negotiated the “marked” and the “unmarked” toward different ends. While Caaporá strove to “Argentinize” European ballet at the turn of the century, Consagración marked the move to claim concert dance as Argentine at midcentury. By focusing on the role of indigenism in these two works, this article contributes to scholarship on the modernist negotiation of the marked and unmarked in Latin American concert dance as a strategy for staging—and transcending—the nation.

Keywords

ArgentinaballetFriends of Dance AssociationindigenismindigenousLatin Americamodern dancemodernismmodernityOscar AraizSouth AmericaVaslav Nijinsky
Type
Articles
Information
Dance Research Journal , Volume 48 , Issue 2 , August 2016 , pp. 44 - 60
Copyright
Copyright © Congress on Research in Dance 2016 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

A. C. 1970. “La buena tierra y sus hijos.” Panorama, May, n. p.Google Scholar
“Ana Kamien for Export.” 1974. Claudia 228: 27.Google Scholar
Araiz, Oscar. n.d. Unpublished draft of in-process autobiographical text.Google Scholar
“Aráiz ensaya ‘Aráiz For Export.’” 1974. Panorama, November 12, 46–47.Google Scholar
Babino, María Elena. 2011. “Caaporá: un mito guaraní en la perspectiva güiraldiana.” In El imaginario de las formas rituales: Figuras y teatralidad en el Norte Grande, edited by Bauzá, Hugo Francisco, 89–106. Buenos Aires, Argentina: Facultad de Filosofia y Letras, Universidad de Buenos Aires.Google Scholar
Babino, María Elena. 2010. Caaporá: Un ballet indígena en la modernidad. Buenos Aires, Argentina: Ediciones Van Riel.Google Scholar
Bauzá, Hugo Francisco, ed. 2011. El imaginario de las formas rituales: Figuras y teatralidad en el Norte Grande. Buenos Aires, Argentina: Facultad de Filosofia y Letras, Universidad de Buenos Aires.Google Scholar
Berman, Marshall. 1988. All That Is Solid Melts into Air. New York: Penguin Books.Google Scholar
Buenos Aires, ciudad secreta . 1995. “Nijinsky in Argentina.” Episode no. 78. Directed by Hernán Nogués. Written by Germinal Nogués. Narrated by Germinal Nogués. Canal TVA.Google Scholar
Burt, Ramsay. 2011. “Dancing Bodies and Modernity.” In The Oxford Handbook of Modernisms, edited by Brooker, Peter, Gasiorek, Andrzej, Longworth, Deborah, and Thacker, Andrew, 562–581. New York, NY: Oxford University Press.Google Scholar
Camayd-Freixas, Erik, and González, José Eduardo, eds. 2000. Primitivism & Identity in Latin America: Essays on Art, Literature, and Culture. Tucson, AZ: University of Arizona Press.Google Scholar
Capelletti, Felix Carlos. 1967. “Consagración.” Talía no. 31 [n.p.].Google Scholar
Citro, Silvia, and Cerletti, Adriana. 2012. “Las danzas aborígenes siempre fueron en ronda.” In Cuerpos en movimiento: Antropología de y desde las danzas, edited by Citro, Silvia and Aschieri, Patricia, 139–168. Buenos Aires, Argentina: Biblos.Google Scholar
Clayton, Michelle. 2014. “Modernism's Moving Bodies.” Modernist Cultures 9(1): 27–45.Google Scholar
“Consagraciones y brujerias.” 1972. Primera Plana no. 481, April 18, 52–53.Google Scholar
Destaville, Enrique Honorio. 2008. “Mirada sobre el sigo XIX y el siglo XX en sus primeros años.” In Historia general de la danza en la Argentina, edited by Beatriz Durante, 13–49. Buenos Aires, Argentina: Fondo Nacional de las Artes.Google Scholar
Dussel, Enrique. 1995. The Invention of the Americas: Eclipse of “the Other” and the Myth of Modernity. Translated by Barber, Michael D.. New York, NY: Continuum.Google Scholar
Eksteins, Modris. 2000. Rites of Spring: The Great War and the Birth of the Modern Age. New York, NY: Mariner Books.Google Scholar
Falcoff, Laura. 2008. “La danza moderna y contemporánea.” In Historia general de la danza en la Argentina, edited by Beatriz Durante, 231–321. Buenos Aires, Argentina: Fondo Nacional de las Artes.Google Scholar
Falcoff, Laura. 1994. “Una obra que todo el siglo veneró.” Teatro 4 (5): 28–32.Google Scholar
Fortuna, Victoria. 2013. “Poner el cuerpo: Buenos Aires Contemporary Dance and the Politics of Movement.” PhD diss., Northwestern University.Google Scholar
Garafola, Lynn. 2005. “Lincoln Kirstein, Modern Dance, and the Left: The Genesis of an American Ballet.” Dance Research 23 (1): 18–35.Google Scholar
Garafola, Lynn. 1989. Diaghilev's Ballets Russes. New York, NY: Oxford University Press.Google Scholar
García Canclini, Néstor. 2005. Hybrid Cultures: Strategies for Entering and Leaving Modernity. Translated by Chiappari, Christopher L. and López, Silvia L.. Minneapolis, MN: University of Minnesota Press.Google Scholar
Garramuño, Florencia. 2011. Primitive Modernities: Tango, Samba, and Nation. Translated by Kazumi Stahl, Anna. Stanford, CA: Stanford University Press.Google Scholar
Giunta, Andrea. 2007. Avant-Garde, Internationalism, and Politics: Argentine Art in the Sixties. Translated by Kahn, Peter. Durham, NC: Duke University Press.Google Scholar
Gorelik, Adrián. 2004. Miradas sobre Buenos Aires. Buenos Aires, Argentina: Siglo XXI Ediciones.Google Scholar
Gusdorf, Georges. 1953. Mythe et Métaphysique: Introduction à la Philosophie. Paris: Flammarion.Google Scholar
Halperín Donghi, Tulio. 2007. Proyecto y Construcción de una Nación. Buenos Aires, Argentina: Emece.Google Scholar
Jaimes, Cesar. 1960. “Noticia sobre el Ballet Folklórico Argentino.” Revista Lyra 177/178 [n.p.].Google Scholar
Jordan, Stephanie. 2007. Stravinsky Dances: Re-visions across a Century. Alton, Hampshire, UK: Dance Books.Google Scholar
Kaehler, Silvia. 2013. Asociación Amigos de la Danza 1962–1966. Buenos Aires, Argentina: Eudeba.Google Scholar
Kirkpatrick, Gwen. 2000. “The Aesthetics of the Avant-Garde.” In Through the Kaleidoscope: The Experience of Modernity in Latin America, edited by Schelling, Vivian, 177–198. London, UK: Verso.Google Scholar
King, John. 2007. El Di Tella y el desarollo cultural argentino en la década del sesenta. Buenos Aires, Argentina: Asunto Impreso Ediciones.Google Scholar
Lesure, François, ed. 1980. Igor Stravinsky Le sacre du printemps: Dossier de Press/Press-Book. Geneva, Switzerland: Minkoff.Google Scholar
Longoni, Ana, and Mestman, Mariano. 2002. Del Di Tella a “Tucumán Arde”: Vanguardia artística y política en el 68 Argentino. Buenos Aires, Argentina: Eudeba.Google Scholar
Ludmer, Josefina. 1988. El género gauchesco: Un tratado sobre la patria. Buenos Aires, Argentina: Editorial Sudamericana.Google Scholar
Manso, Carlos. 2008. “Cuatro décadas del cuerpo de baile del Teatro Colón.” In Historia general de la danza en la Argentina, edited by Beatriz Durante, 51–41. Buenos Aires, Argentina: Fondo Nacional de las Artes.Google Scholar
Molinaro, Natalia. 2012. “Los pueblos originarios en el Bicentenario argentino (2010): ¿Hacia un reconocimiento nacional?” In Amérique Latine Histoire et Mémoire, 10 December. http://alhim.revues.org/4342.Google Scholar
Pinta, María Fernanda. 2013. Teatro expandido en el Di Tella. Buenos Aires, Argentina: Biblos.Google Scholar
Poggi, Margery. 1975. “Royal Winnipeg Ballet/Oscar Araiz an exciting partnership.” Ballet Hoo 30: 4–6.Google Scholar
“Ratificación de un Talento y Lección de Estética en el Colón.” 1966. Clarín, November 15.Google Scholar
Reynoso, Jose Luis. 2015. “Racialized Dance Modernisms in Lusophone and Spanish-Speaking Latin America.” In The Modernist World, edited by Ross, Stephen and Lindgren, Allana C., 392–400. New York: Routledge.Google Scholar
Rock, David. 1995. Authoritarian Argentina: The Nationalist Movement, Its History and Its Impact. Berkeley, CA: University of California Press.Google Scholar
Rojas, Ricardo. 1924. Eurindia: Ensayo de estética fundado en la experiencia histórica de las culturas americanas. Buenos Aires, Argentina: Librería “La Facultad,” J. Roldán y c.Google Scholar
Solari, Silvia Benza, Mennelli, Yanina, and Podhajcer, Adil. 2012. “‘Cuando las danzas construyen la nación’: Los repertories de danzas folclóricas en Argentina, Bolivia y Perú.” In Cuerpos en movimiento: Antropología de y desde las danzas, edited by Citro, Silvia and Aschieri, Patricia, 169–200. Buenos Aires, Argentina: Biblos.Google Scholar
Tambutti, Susana. 2011a. “Una danza ‘periférica’: La modernidad como narrativa europea y su cara oculta, la colonialidad.” Course text, Reflexiones sobre la danza escénica en Argentina Siglo XX, 1–46. Universidad de Buenos Aires.Google Scholar
Tambutti, Susana. 2011b. “El ‘nosotros’ europeo.” Course text, Reflexiones sobre la danza escénica en Argentina Siglo XX, 1–12. Universidad de Buenos Aires.Google Scholar
Tambutti, Susana. 2000. “100 años de la danza en Buenos Aires.” Funámbulos: Revista bimestral de teatro y danza en alternativos 13 (12): 23–32.Google Scholar
Tucker, Bonnie. 1971. “Araiz chooses to create modern ballet in Argentina.” Buenos Aires Herald.Google Scholar
“Viva el folklore.” 1968. Panorama, June 11, 82–83.Google Scholar