"...cultural production is itself a form of knowledge that can offer access to and understandings of the body which are unavailable through purely cognitive means. Women’s painting, sculpture, writing, dance, performance, installation, video or film all offer us ways in which the female body has been re-imagined." An Intimate distance. Women, artists and the body (Rosemary Betterton, 1996)
Sintaxia: subjektu eta objektu
‘El placer de localizar el dedo índice de la mano, estirarlo y dirigirlo contra tu sometedor. Aprender a señalar, pasar de víctima a sujeto: ese placer.’ Novela. Lectura Fácil, Cristina Morales, p.26
‘Some artists have the privilege of making work that looks apolitical;
but there are others whose work, because of their race,
gender, sexuality and so forth, will always be read as political'
"...or as Deborah Hay says ‘It’s not why I dance it’s that I dance and that is political.’ And never more than in the privacy of our own living room in our own authentically deviant way, and it feels good but we don’t always know what to do with it. We’re getting our freak on and we want to help everyone but we wonder exactly how. We know New Age feelings won’t do it so we hang on in there for a context that will make us fierce. We hang on in there for a context that will make us bite which is what we call the performative, and the trouble we discover is that any old person doing any old dance is weird enough to disturb the comfortable." Jonathan Burrows, an attempt to answer the question "why do dancers often speak of their work as political?" Contemporary dance and performance conference, Dusseldorf 2017