La danza del nuovo millennio fra dissenso e partecipazione

The essay deals with the latest generation dance artists (defined as amphibians or third landscape), who, among theatrical grafts, choreographic processes and performative legacies, move within a complex linguistic paradigm and operate in the direction of a process of decolonization of art by placing itself in dialectical dialogue with the theatrical models imposed by tradition. On the one hand, prescriptive precepts of form, content, work of art, technique, canon, audience, absolute artistic quality, perfection of performance, physical form of the performer, professionalism, etc. have reinvigorated a rhetoric of separation that consolidates the Agambenian “sacred” enclosure of dance and brings back the apparatus that discriminates between performing cultures in relation of subordination. On the other hand, the artists of the third landscape move on political terrain and question themselves on the crucial issues of otherness and difference, which the Western model of art, theatre, dance and entertainment tends to exclude, censor and marginalize by imposing the stereotype of its cultural superiority. Therefore, in order to grasp its epoch-making paradigm shift, we shall enquire into the dance of the present day as a practice of decolonization by analysing certain ever-present features which are detectable within the products and processes of this generation of artists.