DANÇA E INDÚSTRIA CULTURAL: REFLEXÕES SOBRE A PSEUDOFORMAÇÃO A PARTIR DO QUADRO DANÇA DOS FAMOSOS

Abstract

The present work has as object of research, the dance. Developed since the beginning of human existence, it has a high formative potential. However, in capitalist industrial society, the cooptation of dance by the culture industry contributes to the establishment of the pseudoformation process. Pseudoformation is subjectivity determined by the terms of capital. It is based on the principles of heteronomy and conformism. This work sought to identify the elements of the cultural industry that are present in the Dance of the Famous painting and to present the way that this painting participates in the process of the individual's pseudoformation. For this, an empirical social investigation was carried out, whose initial process was based on a general analysis of this situation, followed by the systematic observation of some of its editions, for more specific analyzes. The editions chosen for these analyzes were: edition number 1, which took place in 2005; the number 9, held in 2012 and the number 16, which occurred in 2019. The criterion for this selection was the consideration of the fifteen-year period of existence of Dança dos Famous. Therefore, the picture was analyzed in its initial, intermediate and current phase. For the analysis of the collected data, the empirical sociological method of intellectual products was used. The theoretical basis for the appropriation of concepts and reflection of the research object comes from critical-social philosophical studies, mainly from the assumptions of Frankfurtian Critical Theory and especially from the thinking of T. Adorno, M. Horkheimer, Benjamin and Marcuse. For that, it was necessary to carry out an analytical reading and file of the selected works. Analyzes and reflections on the painting showed that dance is treated as a commodity, as a product for the entertainment of the masses. It appears in a spectacular, banalized and mechanized way, to serve the commercial purposes. Thus, its potential emancipator is reduced or impeded. Finally, the work presents as a possibility for the development of the individual's autonomy and emancipation, the experience of authentic art and aesthetic enjoyment.