Sara Regina Fonseca
the usefulness of this comparison thereby using the questions discussed inorder challenge the creating process of a specific dance work. Thus, the disposition of this essay will look like this: In the followingchapter ‘Making Connections’, I will present a theoretical and historicalframework in order to introduce notions of anthropology, universalism,race, culture and colonialism, among others. In the same chapter, I will tryto establish possible relationships between anthropology, colonialism andart, providing grounds for further discussions about the ethics of intercultural representation. In the third chapter ‘The Ethics of Representation in the Work of Eugenio Barba and the Odin’, I will focus onthe work of Eugenio Barba, first discussing concepts like historicity,language and meaning, and then looking closer to activities organized bythe Odin like the ISTA, the barters and the festuges. Finally, I will use theproduction of
in order to provide a postcolonial criticism of it. The last chapter ‘Defeating Colonialism:
, is a personalaccount of the creative process of a dance work, in which the ethics of interculturalism have been a main concern. In this chapter, I hope tovisualize ways of applying the discussions developed along the paper tothe actual making of a dance work.
Anthropology, Colonialism and Art
The institutionalization of modern anthropology in Europe isoften claimed to date back to the 17th and 18th centuries, the Europeanage of the Enlightenment and the emergence of modern sciences. Duringthis time, European thinkers developed the principles of Rationalism,defending the individual’s right and capacity to self-governance and ethic judgment. In this vein, Immanuel Kant wrote his
Anthropology from aPragmatic Point of View
, advocating for an anthropology which aimed at knowing:3