| dc.description.abstract | This article discusses the musical-choreographic phenomenon of the “tinku” within the context of recent social demonstrations in Santiago de Chile. My hypothesis is that the tinku, a folkloric dance of Bolivian origin, takes on new meaning as it becomes part of the protest repertoire in the Chilean capital. In the early 2000s, a collective of dancers identified that the body movements in this performative genre, characterized by the simulation of kicks and punches, empower those who practice it. From this perspective, I seek to demonstrate how this dance operates within the protest repertoire as “choreopolitical” action, as defined by André Lepecki. My reading is based on a review of videos, interviews with key actors, and my own ethnographic experience as a dancer and protester. Finally, this article concludes that the tinku mirrors the energies produced in spaces of protest where police repression is present. Index | |
