95
FIGURA 5
– Proposições selecionadas pelos informantes
1) Dani
2) Fábio
3) Alemar
4)Marília
5) Guilherme
6)Pescador
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A.
New York University - 2003
Introduction:
Choreographing Empires
(1)
This study endeavors to reveal
(5)
the degree to
(2)
which dance shaped the historiography of
(6)
one of the most defining moments in the world history: the discovery,
conquest, and colonization of the Americas.
(7)
To that end,
(8)
sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological writings
(9)
produced by Spanish conquistadors and missionaries in the New World - shall
(10)
serve as the locus of investigation for an extended
(11)
mediation on the relationship
between choreography (the writing o f dance)
(12)
and historiography (the writing of history). That is to say, rather than explain how history shapes dance, I will bring
into relief the ways in which dance shapes history, using the
(4)
written and visual representation of Aztec dance in colonial discourse
(3)
as a case study.
Colonial
(13)
discourse is the predominant source
(14)
through which we know anything at all about indigenous culture. It also provides us with the opportunity to
examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or
discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the
Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
To
(16)
understand the relationship between dance, discourse, and empire, this study is informed by a broad range of
(15)
ideas within the field of dance studies. Foremost,
it is enabled by deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of
constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography
- taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And
finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have
theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual
representations of the European and indigenous encounter, I hope to contribute to this field of scholarship by
(17)
exploring the political dimensions of the relationship
(18)
between dance and writing,
(19)
suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections
between choreography and empire this study charts.
1
“Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the
Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A.
New York University - 2003
Introduction:
(1)
Choreographing Empires
(2)
This study endeavors to reveal the degree to which
(3)
dance shaped the
(4)
historiography of one of the most
(5)
defining moments in the world history: the discovery,
conquest, and colonization of the Americas. To that end, sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological
(6)
writings
produced by
(7)
Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the
(8)
relationship
between choreography (
(9)
the writing of dance) and historiography (
(10)
the writing of history). That is to say, rather than explain how history shapes dance, I will bring
into relief the ways in which dance shapes history, using the written and visual representation of Aztec dance in colonial discourse as a case study.
Colonial discourse is the predominant source through which we know anything at all about indigenous culture. It also provides us with the opportunity to examine the
foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the
other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish
conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(11)
To understand the relationship between dance, discourse, and
(12)
empire, this study is informed by a broad range of ideas within the field of dance studies. Foremost,
it is enabled by deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of
constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography
- taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And
finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have
theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual
representations of the European and indigenous encounter, I hope to contribute to this field of scholarship by exploring the political dimensions of the
(13)
relationship
between dance and writing, suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections
between choreography and empire this study charts.
1
“Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the
Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A.
New York University -
(1)
2003
Introduction:
Choreographing Empires
This study
(8)
endeavors to reveal the degree to which
(2)
dance shaped the
(9)
historiography of
(11)
one of the most defining moments in the world history:
(10)
the
discovery, conquest, and colonization of the Americas. To that end, sixteenth-century
(16)
colonial discourse - the epistolary, ethnohistorical, political and theological
writings
(17)
produced by Spanish conquistadors and missionaries in the New World - shall serve as the
(12)
locus of investigation for an extended mediat ion on the
(13)
relationship between
(14)
choreography (the writing of dance) and
(15)
historiography (the writing of history). That is to say, rather than explain how history shapes
dance, I will bring into relief the ways in which dance shapes history, using the written and visual representation of
(3)
Aztec dance in colonial discourse as a case
study.
(18)
Colonial discourse is the predominant source through which we know
(19)
anything at all about indigenous culture. It also provides us with the opportunity to
examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or
discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the
Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(20)
To understand the relationship between dance, discourse, and empire, this study is informed by
(21)
a broad range of ideas within the field of dance studies. Foremost,
it is enabled by
(22)
deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of
constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography
- taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And
finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have
theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual
representations of the European and indigenous encounter, I
(23)
hope to contribute to this field of scholarship by exploring the political dimensions of the relationship
between dance and writing, suggesting that dance
(24)
was a condition upon which
(25)
the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections
between choreography and empire this study charts.
1
“Aztec” is term that describes the Mesoamerican
(4)
indigenous empire that was composed of
(5)
distinct political and cultural societies. These societies, such as the
Tlaxcaltecas,
(6)
Mexica and Thahuica, each were tied by language (Nahuati)
(7)
cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A.
New York University - 2003
Introduction:
Choreographing Empires
(1)
This study endeavors to reveal the degree to which dance shaped the historiography of one of the most defining moments in the world history: the discovery,
conquest, and colonization of the Americas.
(2)
To that end, sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological
(3)
writings
produced by Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the relationship
between
(4)
choreography (the writing of dance) and historiography (the writing of history). That is to say, rather than explain how history shapes dance, I will bring
into relief the ways in which dance shapes history,
(6)
using the written and visual representation of Aztec dance in colonial discourse as
(5)
a case study.
Colonial discourse is the predominant source through which we know anything at all about indigenous culture. It also provides us with the opportunity to examine the
foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the
other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish
conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(8)
To understand the relationship between dance, discourse, and empire, this study is informed by
(7)
a broad range of ideas within the field of dance studies. Foremost,
it is enabled by deconstructionist
(9)
theories of dance such as those of
(10)
Mark Franko (1994), that explore the dynamic between writing and dancing as modes of
constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography
- taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And
finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and
(11)
Deborah Poole (1990) who have
theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By
(13)
examining the written and visual
representations of the European and indigenous encounter, I
(12)
hope to contribute to this field of scholarship by exploring the political dimensions of the relationship
between dance and writing,
(14)
suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections
between choreography and empire this study charts.
1
“Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the
Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A.
New York University - 2003
Introduction:
Choreographing Empires
(1)
This study endeavors to reveal the degree to which dance shaped the historiography of one of the most defining
(4)
moments in the world history: the discovery,
conquest, and colonization of the Americas. To that end, sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological writings
produced by Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the
(3)
relationship
between choreography (the writing of dance) and historiography (the writing of history). That is to say, rather than
(5)
explain how history shapes dance, I will bring
into relief
(2)
the ways in which dance shapes history,
(6)
using the written and
(7)
visual representation of
(8)
Aztec dance in colonial discourse
(9)
as a case study.
(10)
Colonial discourse is the predominant source through which
(13)
we know anything at all about
(14)
indigenous culture. It also provides us with the
(12)
opportunity to
examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what
(11)
Michel de Certeau has called a "heterology" (or
discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the
Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(15)
To understand the relationship between dance, discourse, and empire,
(16)
this study is informed by a broad range of ideas within the field of dance studies. Foremost, it is enabled by deconstructionist theories of dance such
(17)
as those of
Mark Franko (1994),
(18)
that explore the dynamic between writing and dancing as modes of
(19)
constructing meaning. Furthermore, it is
(20)
shaped by theories of
choreography and historiography - choreography as a model for historiography, history as choreography - taking its cue from the work of
(21)
Susan L. Foster who has
explored the ways in which the historiographer”s
(22)
body shapes the history of dancing bodies (1995). And
(23)
finally, the arguments in this study gain momentum
from scholars such as
(24)
Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have theorized the relationship between historiography,
narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual representations of the
(25)
European and indigenous
encounter,
(26)
I hope to contribute to this field of scholarship by exploring the political dimensions of the relationship between dance and writing, suggesting that dance
was a condition upon which the conquest could be historiographically
(27)
represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections
between choreography and empire this study charts.
1
“Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the
Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A.
New York University - 2003
Introduction:
Choreographing Empires
(1)
This study endeavors to reveal the degree to which dance shaped the historiography of one of the most defining moments in the world history: the discovery,
conquest, and colonization of the Americas. To that
(2)
end,
(3)
sixteenth-century
(4)
colonial discourse - the epistolary,
(5)
ethnohistorical, political and theological writings
(6)
produced by Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the relationship
between choreography (the writing of dance) and historiography (the writing of history).
(7)
That is to say, rather than
(8)
explain how history shapes dance, I will bring
into relief the ways in which dance shapes history, using the written and visual representation of Aztec dance in colonial discourse as a case study.
Colonial discourse is the predominant source through which we know anything at all about indigenous culture. It also provides us with the opportunity to examine the
foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the
other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish
conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
To understand the relationship between dance, discourse, and empire, this study is informed by a broad range of ideas within the field of dance studies. Foremost, it is
enabled by deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of constructing
meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography - taking its
cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And finally, the
arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have theorized the
relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual representations of
the European and indigenous encounter, I hope to contribute to this field of scholarship by exploring the political dimensions of the relationship between dance and
writing, suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections
between choreography and empire this study charts.
1
“Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the
Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system