What is a body without identity? Capoeira and the migration of form

在这个研究项目中，我计划将卡波耶拉作为一种“活神话”的形式来研究，正如乔治·巴塔耶所定义的那样。以历史（和传奇）的例子Satã女士（1900-1976）为例，这位非裔巴西人卡波耶里塔（capoerista）、不法之徒和变装艺术家与这种形式联系在一起，我看看卡波耶拉和Satã是如何通过对身体的表演解散来例证非身份原则的。卡波耶拉源于对强加身份（奴隶身份）的反抗和颠覆，是一种伪装成舞蹈的武术，目的是逃避和改变身份。巴塔耶的“活神话”理论强调身体的“活力”，而不是“解体社会”的“静态”社会主体（巴塔耶，1985:233），这一观点在今天仍然适用于身份政治和隔离类型（既有强加的，也有要求的）所主导的时代。卡波耶拉，作为形式和信息，（dis）体现了作为一种“主权”模式的表演-这是巴塔耶与控制和奴役区分开来的概念-这是在非生产性支出的文化实践中实现的。对卡波耶拉的研究将证明，它作为一种仪式形式的神话起源，在流离失所和被剥夺公民权的社区中仍然作为一种持续的实践而存在。我的项目将提供一种作为身份消解的表演的原创解读（Martin， R., 2012），并将神话作为一个成为的过程重新焕发活力。它与理论家朱迪思·巴特勒（Judith Butler）最明确地阐述的围绕身份政治的当代话语相反，它源于我对自己作为殖民地边界内的移民、混血儿和卡波耶拉实践者的经历的批判性参与。我认为，为了适应激进运动，消解社会身份是很重要的。我的项目不是基于实践的；相反，它是利用跨学科研究方法和文献综述对舞蹈形式的批判性检查。

In this research project I plan to study Capoeira as a form of 'living myth', as conceptualized by Georges Bataille. Using the historical (and legendary) example of Madam Satã (1900-1976), the Afro-Brazilian capoeirista, outlaw and drag artist with whom the form is associated, I look at how capoeira and Satã exemplify the principle of non-identity through the performative dissolution of the body. Born of the resistance to, and subversion of, an imposed identity (that of a slave), Capoeira is a martial art that masquerades as dance in order to evade and transform identity. Bataille's theory of 'living myth' emphasizes the 'dynamism' of the body in place of the 'static' social subject of 'disintegrated society' (Bataille, 1985: 233), an idea still relevant today in an era dominated by identity politics and types of segregation (both imposed and demanded). Capoeira, as both form and informe, (dis)embodies performance as a mode of 'sovereignty' - a concept that Bataille differentiates from mastery and slavery - that is achieved in cultural practices of non-productive expenditure. This study of Capoeira will argue that its mythical origin as a ritual form still lives as an ongoingpractice among displaced and disenfranchised communities.My project will offer an original reading of performance as the dissolution of identity (Martin, R., 2012) and revitalize myth as a process of becoming. It stands in opposition to contemporary discourse surrounding identity politics articulated most explicitly by the theorist Judith Butler, and results from my critical engagement with my own experiences as a migrant within colonial borders, a mixed-race person and capoeira practitioner. I will argue that it is important to dissolve social identity in order to appropriate radical movement. My project is not practice-based; rather, it is a critical examination of the dance form utilizing an interdisciplinary research method and literature review.