“Sala para Estar” Diners

This essay is an invitation to reflect on the performance "Sala para Estar - comensales" as an artistic practice that investigates the potential communion between Romany and non-Romany women. From the (re)production in the Comedor Universitario (UNC) of domestic micro rituals (in this case...

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Autor principal: Videla, Soledad
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2019
Materias:
performance
domestic rituals
gender
rituales domésticos
género
Acceso en línea:https://revistas.unc.edu.ar/index.php/etcetera/article/view/25054
Aporte de:
Etcétera. Revista del Área de Ciencias Sociales del CIFFyH de Universidad Nacional de Córdoba
id I10-R300-article-25054
record_format ojs
spelling I10-R300-article-250542021-08-10T15:35:12Z “Sala para Estar” Diners “Sala para Estar” Comensales Videla, Soledad performance domestic rituals gender performance rituales domésticos género This essay is an invitation to reflect on the performance "Sala para Estar - comensales" as an artistic practice that investigates the potential communion between Romany and non-Romany women. From the (re)production in the Comedor Universitario (UNC) of domestic micro rituals (in this case, the ceremony of gypsy tea and Argentinian mate), the performance promotes dimensions of interaction and visibilization of social relations, especially gender.On the one hand, the contributions of aesthetic performances are taken up again as liminal practices that move between "hybrid" folds, deepening axes that refer to processes of cultural interaction. A series of negotiations, selections and reconfigurations of practices take place here, which are re-inscribed as processes of open ends, in which "change is happening". On the other hand, in this potential communion of encounters, we turn to the idea of rituals as collective memories that, staged from certain codes, enable the recognition of confluences rather than the emphasis on exoticizing and foreignizing differences. We think specifically of liminoid rituals that promote transformations of time and space, contributing to create experiences of "communitas" (Turner: 1988). Such experiences achieve efficacy from the invitation, displacing the spectacularity when sharing with the assistants these infusions not only daily but important for the sociability of our customs.In this world of (dis)encounters, "Sala para Estar - comensales" proposes to be there... to remain... to be situated between... to construct a space that becomes a situation, a room, a body, a house, a workshop. Este ensayo es una invitación a reflexionar sobre la performance “Sala para Estar – comensales” como práctica artística que indaga sobre la potencial comunión entre mujeres gitanas y no gitanas. A partir de la (re)producción en el Comedor Universitario de microrituales domésticos (en este caso, la ceremonia del té gitano y el mate criollo), la performance promueve dimensiones de interacción y visibilización de relaciones sociales, especialmente de género.Por un lado, se retoman los aportes de las performances estéticas en tanto prácticas liminales que se mueven entre pliegues “híbridos”, profundizando ejes que refieren a procesos de interacción cultural. Aquí suceden una serie de negociaciones, selecciones y reconfiguraciones de prácticas que se reinscriben como procesos de cabos abiertos, en los que “el cambio está sucediendo”. Por otra parte, en esta potencial comunión de los encuentros, se vuelve sobre la idea de los rituales como memorias colectivas que, escenificadas a partir de ciertos códigos, habilitan el reconocimiento de confluencias más que el énfasis en las diferencias exotizantes y extranjerizantes. Pensamos específicamente en los rituales liminoides que promueven transformaciones de tiempo y espacio, contribuyendo a crear experiencias de “communitas” (Turner: 1988). Tales vivencias logran eficacia a partir del convite, desplazando la espectacularidad al compartir con los asistentes estas infusiones no sólo cotidianas sino importantes para la sociabilidad de nuestras costumbres.En este mundo de (des)encuentros, “Sala para Estar - comensales " propone estar ahí... permanecer... situarse entre... construir un espacio que se transforma en situación, en sala, en cuerpo, en casa, en taller. Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2019-07-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/etcetera/article/view/25054 Etcétera. Revista del Área de Ciencias Sociales del CIFFyH; Núm. 4 (2019) 2618-4281 spa https://revistas.unc.edu.ar/index.php/etcetera/article/view/25054/34753 Derechos de autor 2019 Etcétera. Revista del Área de Ciencias Sociales del CIFFyH https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-300
container_title_str Etcétera. Revista del Área de Ciencias Sociales del CIFFyH
language Español
format Artículo revista
topic performance
domestic rituals
gender
performance
rituales domésticos
género
spellingShingle performance
domestic rituals
gender
performance
rituales domésticos
género
Videla, Soledad
“Sala para Estar” Diners
topic_facet performance
domestic rituals
gender
performance
rituales domésticos
género
author Videla, Soledad
author_facet Videla, Soledad
author_sort Videla, Soledad
title “Sala para Estar” Diners
title_short “Sala para Estar” Diners
title_full “Sala para Estar” Diners
title_fullStr “Sala para Estar” Diners
title_full_unstemmed “Sala para Estar” Diners
title_sort “sala para estar” diners
description This essay is an invitation to reflect on the performance "Sala para Estar - comensales" as an artistic practice that investigates the potential communion between Romany and non-Romany women. From the (re)production in the Comedor Universitario (UNC) of domestic micro rituals (in this case, the ceremony of gypsy tea and Argentinian mate), the performance promotes dimensions of interaction and visibilization of social relations, especially gender.On the one hand, the contributions of aesthetic performances are taken up again as liminal practices that move between "hybrid" folds, deepening axes that refer to processes of cultural interaction. A series of negotiations, selections and reconfigurations of practices take place here, which are re-inscribed as processes of open ends, in which "change is happening". On the other hand, in this potential communion of encounters, we turn to the idea of rituals as collective memories that, staged from certain codes, enable the recognition of confluences rather than the emphasis on exoticizing and foreignizing differences. We think specifically of liminoid rituals that promote transformations of time and space, contributing to create experiences of "communitas" (Turner: 1988). Such experiences achieve efficacy from the invitation, displacing the spectacularity when sharing with the assistants these infusions not only daily but important for the sociability of our customs.In this world of (dis)encounters, "Sala para Estar - comensales" proposes to be there... to remain... to be situated between... to construct a space that becomes a situation, a room, a body, a house, a workshop.
publisher Centro de Investigaciones de la Facultad de Filosofía y Humanidades
publishDate 2019
url https://revistas.unc.edu.ar/index.php/etcetera/article/view/25054
work_keys_str_mv AT videlasoledad salaparaestardiners
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first_indexed 2024-09-03T20:21:48Z
last_indexed 2024-09-03T20:21:48Z
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