Olas de Otro Mar: Reenacting, Renarrating and Ruminating Dance in Quito-Ecuador (1997-2024)

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dc.contributor.advisorSchweitzer,Marlis Erica
dc.contributor.authorDonoso, Esteban Ramon
dc.date.accessioned2024-07-18T21:18:39Z
dc.date.available2024-07-18T21:18:39Z
dc.date.copyright2024-03-11
dc.date.issued2024-07-18
dc.date.updated2024-07-18T21:18:38Z
dc.degree.disciplineTheatre and Performance Studies
dc.degree.levelDoctoral
dc.degree.namePhD - Doctor of Philosophy
dc.description.abstractOlas de otro mar investigates embodied memory and transmissions in the field of dance in Quito-Ecuador (1997-2024). Navigating between the fields of performance studies and dance studies, I engage in an in-depth, oral history work with dancers who founded the all-women contemporary dance festival No mas Luna en el Agua NMLA in Quito (1997-2011). I intend to map out the processes through which they paved their way as women dance artists within a patently patriarchal environment. NMLA was created by the female members of dance collective Frente de Danza Independiente, Marcela Correa, Irina Pontón, Carolina Vásconez, Mónica Thiel, Cecilia Andrade and Josie Cáceres in 1997. The festival allowed the group of women to establish a space of creative solidarity and to blur boundaries between art and life. The project deployed a practice-based methodology for reenacting dance pieces performed at their festival, collectively conceived with a group of the original creators. Through revisiting their dances together, we deploy a feminist approach of revisioning and re-narrating the works to be able to see them and reassess them from different vantage points. My objective is to examine the influences and contributions of the group, tracing the connections of the works to their broader contexts, institutional, local, and global against the grain of patriarchal and colonial determinations. The dissertation elaborates on the practice-based work, tracing each of the dances’ reenactment journey, in conversation with archival materials and interviews on local dance histories and relevant decolonial and feminist concepts and methodologies. The revisited works are Histeria Blanca (1999) by Irina Pontón, La Huesudita (2001) by Carolina Vásconez, Más Adentro (2002) by Marcela Correa, 27 Minutos (2004) by Josie Cáceres. The project’s focus on embodied modes of memory and oral histories contributes to much needed conversations around memory, visibility and prevalent, often overlapping dynamics of colonial and patriarchal mandates in the field of dance in Ecuador, from a situated, embodied standpoint. It also generates knowledge around the politics of memory of ‘minor’, often overlooked dance histories and their social contexts.
dc.identifier.urihttps://hdl.handle.net/10315/42134
dc.languageen
dc.rightsAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.
dc.subjectPerforming arts
dc.subjectDance
dc.subjectHistory
dc.subject.keywordsDance
dc.subject.keywordsEcuador
dc.subject.keywordsOral histories
dc.subject.keywordsFeminism
dc.subject.keywordsDecolonial
dc.subject.keywordsPractice-based methodologies
dc.titleOlas de Otro Mar: Reenacting, Renarrating and Ruminating Dance in Quito-Ecuador (1997-2024)
dc.typeElectronic Thesis or Dissertation

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