Resumo:
This research is based on a theoretical construction that resulted in critical and analytical reflections about artivism Colling (2019), Troi (2018) dance and its political function. In this research, the general purpose is to articulate a discourse on dance, politics and how BODYVOICES (corpovozes) are treated as subversive bodies, in which transgress established normative social stereotypes and still survive. These bodies are living on different surviving instances, and they drive dance manifestations on the interfaces of politics, culture and society. These are some of the proposals and paths to delimitate this research epistemic space with the goal of understanding the BODYVOICES as drivers of subjectivation processes and articulators of their (re)existence discourses as a performative action. Art and life are inseparable in a BODYVOICE, because of subordination processes, effects of dissident social categorization and ills presented in performative actions. In this research, there are elucidations on how political, social and cultural processes are responsible for the condition of abject body, in which Dance takes the task of enunciating these artivisms build from a do-say Setenta (2008) of corposvozes. This research has a theoretical background supported by authors who problematize actions of social paradigms and its effects on attitudinal modifications of dissident bodies of sex, sexuality, gender, class, race and those against the norm in culture-society across history. To emphasize the historical (re)existence of artists bodies in the hiv/aids movement, problematizing and resisting the epidemics of aids discourse Bessa (1997), going beyond hiv virus proposing dissidents works and debating the intersection of art/dance/performance. We seek to understand the political agency that causes tensions in the lives and subjection processes resulted from these bodies, also their resistance discourse taken from semistructured conducted interviews. In this research there is also the artistic/academic trajectory of the author questions about Corpovoz under HIV perspective. The author writes experiences as scribbled narratives (Evaristo,2007) that converse with theoretical assumptions as part of artivism in the arts and dissident action of sexuality in dance.
