Arts and culture do not represent a completely new theme in the human rights discourse, but their potential could be more widely explored. This thesis proposes a holistic analysis of dance’s social and political potential for human rights, through an interdisciplinary approach combining international human rights law, politics, and sociology. By analyzing five heterogeneous case studies, the Chilean cueca through diverse social and political contexts and German modern dance during Nazism as the main case studies and three additional case studies on human rights choreographies, this thesis unveils the potential of dance, as a non-verbal artistic language, in conceptualizing and promoting human rights. The case studies are analyzed through a combination of Hans Joas theory on self-transcendence and Dana Mills’ concept of sic-sensuous applied to the human rights discourse. Viewing dance as one of the possible experiences in which a person transcends herself and grounds motivation, creating the moment when commitments to value take root in the human personality, is combined with the concept of sic-sensuous, the transfer of meaning through the processes of intervention which occur between two sensed and sensing bodies. In embodied spaces that bring individuals together, it is possible for the reader to understand the several nuances of the instrumentalization of dance, illuminating its potential as a non-traditional tool for socialization, transmission of memories, and advocacy in the human rights discourse.
Arts and culture do not represent a completely new theme in the human rights discourse, but their potential could be more widely explored. This thesis proposes a holistic analysis of dance’s social and political potential for human rights, through an interdisciplinary approach combining international human rights law, politics, and sociology. By analyzing five heterogeneous case studies, the Chilean cueca through diverse social and political contexts and German modern dance during Nazism as the main case studies and three additional case studies on human rights choreographies, this thesis unveils the potential of dance, as a non-verbal artistic language, in conceptualizing and promoting human rights. The case studies are analyzed through a combination of Hans Joas theory on self-transcendence and Dana Mills’ concept of sic-sensuous applied to the human rights discourse. Viewing dance as one of the possible experiences in which a person transcends herself and grounds motivation, creating the moment when commitments to value take root in the human personality, is combined with the concept of sic-sensuous, the transfer of meaning through the processes of intervention which occur between two sensed and sensing bodies. In embodied spaces that bring individuals together, it is possible for the reader to understand the several nuances of the instrumentalization of dance, illuminating its potential as a non-traditional tool for socialization, transmission of memories, and advocacy in the human rights discourse.
Performing rights. The social and political potential of dance in the human rights discourse
RIBEIRO DA SILVA, BEATRIZ
2023/2024
Abstract
Arts and culture do not represent a completely new theme in the human rights discourse, but their potential could be more widely explored. This thesis proposes a holistic analysis of dance’s social and political potential for human rights, through an interdisciplinary approach combining international human rights law, politics, and sociology. By analyzing five heterogeneous case studies, the Chilean cueca through diverse social and political contexts and German modern dance during Nazism as the main case studies and three additional case studies on human rights choreographies, this thesis unveils the potential of dance, as a non-verbal artistic language, in conceptualizing and promoting human rights. The case studies are analyzed through a combination of Hans Joas theory on self-transcendence and Dana Mills’ concept of sic-sensuous applied to the human rights discourse. Viewing dance as one of the possible experiences in which a person transcends herself and grounds motivation, creating the moment when commitments to value take root in the human personality, is combined with the concept of sic-sensuous, the transfer of meaning through the processes of intervention which occur between two sensed and sensing bodies. In embodied spaces that bring individuals together, it is possible for the reader to understand the several nuances of the instrumentalization of dance, illuminating its potential as a non-traditional tool for socialization, transmission of memories, and advocacy in the human rights discourse.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/67929