Aparecer(es) : la estética de los movimientos sociales. El caso del Frente Popular Darío Santillán Rosario (Argentina, 2004-2012)
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2018
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Instituto de Estudios Avanzados de la Universidad de Santiago de Chile, USACH
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El propósito de este artículo consiste en reflexionar sobre un aspecto,
escasamente explorado, de las múltiples vinculaciones entre arte, estética y política.
Precisamente, abordamos una dimensión de la estética de la política, a saber: las formas
de aparición en el espacio público de los movimientos sociales, en este caso, del Frente
Popular Darío Santillán Rosario, una organización social de la ciudad de Rosario
(Argentina), durante el período 2004-2012. Analizamos diferentes componentes de
dicha dimensión, a saber: a) la configuración de una dramaturgia piquetera, que
entendemos como la utilización dramática de elementos emblemáticos de la gramática
política piquetera; b) el proceso de carnavalización de la protesta, en otros términos, la
constitución de una forma de aparecer festiva en el espacio público; y c) la esfera
mística de su política, es decir, prácticas organizadas de tipo celebratorias de motivación
y renovación de la fe y el compromiso político. Como hipótesis proponemos que, en la
composición y recreación de la dimensión estética de la política, en la fabulación de
esas formas de aparecer en el espacio público se dirime buena parte de la configuración
de la subjetividad colectiva de dicho movimiento social. En otras palabras, sostenemos
que el proceso de subjetivación colectiva del Frente Popular Darío Santillán Rosario,
implicó complejos procesos de subjetivación estética
The purpose of this article is to reflect on an aspect, scarcely explored, of the multiple links among art, aesthetics and politics. Particularly, we analyse one dimension of the aesthetics of politics, namely: the forms of appearance of social movements in the public space, in this case, the Frente Popular Darío Santillán Rosario, a social organization of the city of Rosario (Argentina), between 2004 and 2012. We analyze different components of this dimension, namely: a) the configuration of a piquetera dramaturgy which we understand as the dramatic use of emblematic elements of the piquetera political grammar; b) the carnivalization process of protest, in other words, the constitution of a festive form of appearing in the public space; and c) the mystical dimension of its politics, that is, organized celebratory practices of motivation and renewal of faith and political commitment. We propose the hypothesis that in the composition and recreation of the aesthetic dimension of politics, in the fabulation of these forms of appearing in the public space, a large part of the configuration of the collective subjectivity of this social movement is settled. In other words, we argue that complex processes of aesthetic subjectivity have been involved in the collective subjectivation of the Frente Popular Darío Santillán Rosario
The purpose of this article is to reflect on an aspect, scarcely explored, of the multiple links among art, aesthetics and politics. Particularly, we analyse one dimension of the aesthetics of politics, namely: the forms of appearance of social movements in the public space, in this case, the Frente Popular Darío Santillán Rosario, a social organization of the city of Rosario (Argentina), between 2004 and 2012. We analyze different components of this dimension, namely: a) the configuration of a piquetera dramaturgy which we understand as the dramatic use of emblematic elements of the piquetera political grammar; b) the carnivalization process of protest, in other words, the constitution of a festive form of appearing in the public space; and c) the mystical dimension of its politics, that is, organized celebratory practices of motivation and renewal of faith and political commitment. We propose the hypothesis that in the composition and recreation of the aesthetic dimension of politics, in the fabulation of these forms of appearing in the public space, a large part of the configuration of the collective subjectivity of this social movement is settled. In other words, we argue that complex processes of aesthetic subjectivity have been involved in the collective subjectivation of the Frente Popular Darío Santillán Rosario
Palabras clave
Movimientos sociales, Frente Popular Darío Santillán, Protesta social, Argentina, Social movements, Social protest