L’artista vivente come fonte e archivio della danza. Le interviste a Cristina Hoyos, Dominique e Françoise Dupuy per le ricerche sulla danza come patrimonio culturale immateriale

Elisa Anzellotti

doi:10.6092/issn.2036-1599/4983

Authors

Elisa Anzellotti University of Rome 3

In 2005 she graduated from the university of Rome 3 with a bachelors degree in Legal Studies; in 2007 she completed another bachelors degree in Cultural Heritage and in 2009 she was awarded master's degree in Art History and the Protection of Historic and Artistic Heritage, at the University of Tuscia, Viterbo -Department of Cultural Heritage. In 2011, at the same University, she is a PhD student in “Memory and the field work of art works through the processes of production, historicization, conservation and preservation” with a project on dance as an intangible cultural heritage she started a joint supervision programme with the University Paris 8-Vincennes-Saint Denis. She has contributed to the cataloguing of the Latin Urbinate at the Vatican Library and has done an internship restoring the fragments of St Peters’ apse in Tuscania with the ICR (Central Institute for Restoration). In 2007 she graduated in artistic dance at the FIDS (Italian Dance Sport Federation) and in 2011 was called to judge the Italian championships in Rimini.

DOI:

https://doi.org/10.6092/issn.2036-1599/4983

Abstract

The 1900 is the century in which they feel the need to conserve more in opposition to the big run of events and thus proliferate archives. Although the dance has this “need for memory”. When it comes to living artists certainly the most important archives are themselves, their body, their knowledge, in fact in Japan people can be recognized as cultural heritage because of the wealth of information that lead into them. Today fewer dancers write and there is a risk that this big heritage will be lost. The dancers still alive are important sources for dance and their material is a precious treasure for researchers, which is why I decided to make these interviews with personalities from the world of dance that have addressed these issues, and I want to share some concepts and compare them. The cases are taken as examples as Françoise and Dominique Dupuy in France, which both have theorized on the memory of the dance, and Cristina Hoyos, dancer and choreographer, but especially the creator of the Museum of Flamenco in Seville. The central argument is therefore the dance as an intangible cultural heritage and the problem of conservation, especially in the era of globalization, as well as the question of memory and a museum of the ephemeral, certain topics are addressed here that very big but limited to what is the point of view of the respondents who have been asked questions about the report: dance and archive/museum, dance and policy/globalization, dance and rhythm, dance and visual arts.