Constant revision, and debate

The interaction that arose from working from a horizontal position between myself and Juan Carlos Lérida, the titular professor, and me, as pedagogical assistant. The interaction, has generated a constant revision, and debate about the contents to be dealt with during this subject. From this perspective, the Optative Flamenco, came from the idea of wanting to propose a non-hegemonic approach to this complex artistic field, divided into 10 themes. Furthermore, the main character of the Optative Flamenco, was to break down the barriers that the artistic field of flamenco places before anybody outside it. And to find a way to enhance subjectivity, independently of the educational policies of the field itself and of the institution where it has been carried out, in this case the Institut del Teatre.

The consequences of this fissure, will not be reflected on a large scale, but it has been a space of exercise where tutor and student have questioned each of their positions. In addition, some ways have also confronted the students themselves about their decision-making when enrolling in this subject, they have practised and reflected on the structure not only academically but also that of the student’s own configuration. I personally consider that these structures are not only composed by those who design them, but also by those who experience and reproduce them. Under this proposal, a further question arises for me.

What then is a triple migrant student doing designing a Flemish elective?

I find that many factors are at work in this particular circumstance, and that it has been self-produced, clarifying the relations of oppression, differentiation, and privilege that are exacerbated in the face of this panorama. I refer to the title of my paper on racist structures in the Higher Conservatoires of Dance of the Kingdom of Spain from a migrant perspective. Due to, I can recognise myself in the symptoms that are currently reflected in the field of pedagogy and in the effects that are reflected in the field of flamenco in these centres of cultural production. Being that geopolitics directly influences this problematic, because when trying to generalise within the composition of the Higher Conservatoires of Dance of the Kingdom of Spain. Obviously, it is possible that these structures cannot be experienced in the same way in the territory of Madrid, Valencia, or others. The field of Flamenco and stylised Spanish dance has a privileged position in front of other knowledge, but where the migrant individual will not show a change of positioning. This has led me to a third question:

As migrant students, how do we live and survive this scenario?

Under this path, I then tried to organise a group-laboratory of racialised students within my context. Firs, I exposed a short questionnaire about the situations I had experienced, and with the possibility of opening this space of reflection and practice outside the white and Catalan supervision. My surprise is that of the 7 racialised members, only one person responded to this questionnaire. While the others refrained from responding and preferred to answer my questions personally, so what I can identify is a great fear of being able to organise. I think and question the system because of the consequences that this implies, to this day I have not touched the subject again, and I fear that it will not be something that will be touched again. The system prefers us to be atomised.

But this Higher Conservatoires of Dance of Barcelona in particular wants its integration into modernity and its autonomy. In the meantime, it is busy managing its affiliation to the University and is designing a new curriculum without the intervention of the Central Government. The syllabus has not yet been completely resolved by the requirements of the University, and what was a Superior Degree with two specialities will be subdivided into two degrees: Choreography, which will have to move closer to the field of the Humanities, and Pedagogy, which will be conditioned by the teaching exams. And that, therefore, if this training was already very inaccessible to migrants in the past, it will now reflect a greater distancing towards this population. I agree that my position with all this, as a migrant student, has not changed in the face of the great framework of the structure of the institution. I am still going through all the regulations that it poses until I reach the degree where a King will sign my accreditation as a Dance Pedagogue. But what I can argue is my position to be able to have the restlessness to hack these structures from their own elements.

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