The curriculum “imitates” art: border relations potentiated in Pina Bausch’s dance-theater

Abstract

The text on screen starts from the motto “The Curriculum ‘imitates’ Art”, aiming to provoke reflections on the curricular field as a fluid movement that does not end in the walls of the school. We bring to the debate experiences of artistic experimentation and the dance-theater of Pina Bausch that mobilize debates that go beyond binary logics, focusing on the conception of meaning as a fluid, hybrid process. On the borders between the ballet tradition and the performances of this tradition, Pina's stages bring dance as an experience, something ambivalent in which the new always breaks out, breaking this tradition, due to the processes of cultural enunciation. In this path, we bring Homi Bhabha and Jacques Derrida, who, in dialogue with Pina Bausch's dance-theater, allow us to deepen a post-structural discursive perspective on curriculum as a movement that hybridizes in the relationship with the other in which the attempts of reproduction – imitation – are deferral processes. Thus, the appropriations that we make to the curriculum field – and that we bring in this text – allow us to problematize the meanings of curriculum as a new contaminated. We defend, therefore, the provisionality and the always other experience of the curricular production that is always borderline, as proposed by Bauschian dance.