Choreographing the common: deforming approximations for territories

Abstract

Objective of the study: This article seeks to think about art and the common from a process of construction and consolidation of an artistic intervention thought and created based on the approach in a vulnerable territory of the city of Santos (São Paulo, Brazil).

Methodology / approach: In this writing exercise, the narrated experience is doubled by the performance entitled Friction, developed throughout the year 2018 in an artistic residence that had as its cut precisely actions of art, territory and community.

Originality / relevance: This performance was conceived as a choreographic deformation to inhabit territories based on the articulated presence between a group of artists, chairs and people who are transiting or inhabiting the public space, previously known and determined.

Theoretical / methodological contributions: A common choreography is always reconfiguration, uniqueness and difference, which becomes visible from a “community figure”, which is undone by the encounters and new configurations that a creative process arranges.

Main results: A new configuration of bodies, times and places crossed by art. Based on cartographic writing, the text discusses approaches between art and the common and how their experiments provide agency between body, affection, aesthetics and politics.

Conclusion: Experiences like this are attentive and careful to ethical issues, can provide an expansion in the field of inventive practices and encounter in a territory, and change determined values and perspectives in colonialist cities.