{"id":2322,"date":"2019-10-21T04:24:59","date_gmt":"2019-10-21T02:24:59","guid":{"rendered":"http:\/\/www.ricardoviviani.com\/?p=2322"},"modified":"2026-08-31T00:46:16","modified_gmt":"2026-08-30T22:46:16","slug":"oha-salt-lake-city-2019","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=2322","title":{"rendered":"Just Call Us Dancers"},"content":{"rendered":"\n
\"Just<\/a>
Just Call Us Dancers \u2014 presentation material<\/figcaption><\/figure>\n\n\n\n

Type:<\/strong> Presentation \u00b7 Oral History
Date:<\/strong> 17 October 2019
Context:<\/strong> Oral History Association Annual Meeting, Pathways in the Field: Considerations for those Working In, On, and Around Oral History<\/em>
Location:<\/strong> Sheraton Salt Lake City Hotel, Salt Lake City, Utah, USA
Panel:<\/strong> Oral History in Artistic Mediums
Role:<\/strong> Presenter \u00b7 Researcher
Affiliation:<\/strong> FernUniversit\u00e4t in Hagen<\/p>\n\n\n\n

Panel Participants:<\/strong>
\nRicardo Viviani
\nKenneth Horowitz
\nDaniel Horowitz Garcia<\/p>\n\n\n\n

\n\n\n\n
\n

In the winter of 1980\/81, I was awarded a scholarship to study at a dance studio located at 400 Lafayette Street in New York City. The name of this studio was Dancerschool. The studio was part of the life work of Dennis Wayne, a star dancer of the 1970s. His company was called \u201cDancers\u201d, just the word \u201cDancers\u201d. The simplicity of that name indicates that what they do should suffice.
The art speaks for itself.\u00a0<\/p>\n\n\n\n

The title Just Call Us Dancers comes from this memory. It is therefore both a reference to that particular moment in my own formation and a question about what can be communicated by the practice itself, before it is translated into explanatory language.<\/pre>\n\n\n\n
\n<\/blockquote>\n\n\n\n
Just Call Us Dancers<\/strong> \u2014 Oral History in the Performing Arts<\/em> was a presentation about Ricardo Viviani’s pathway from dance and choreography into Oral History and about the methodological questions that arise when oral history is applied to a predominantly non-verbal art form.<\/p>\n\n\n\n
The presentation was deliberately personal. Using slides that included images from Viviani’s early years as a dancer, it traced a path that began with his unexpected discovery of dance while studying Biology at the University of S\u00e3o Paulo. During university strikes, he encountered a dance group forming in the Faculty of Architecture (FAU). The group, composed of amateur dancers, chose the deliberately grand institutional name Corpos de Baile<\/em>. What began as a moment of curiosity became a professional artistic trajectory.<\/p>\n\n\n\n
A year or two later, Viviani entered the Escola de Comunica\u00e7\u00f5es e Artes \u2014 Escola de Arte Dram\u00e1tica (ECA-EAD) at the University of S\u00e3o Paulo to study Theatre Direction, as a dance programme was not available there in 1979. His teachers directed his attention toward non-verbal communication, giving him a way of thinking about performance beyond spoken language.<\/p>\n\n\n\n
This formation took place during the Brazilian Military Regime. Viviani observed how music, theatre and dance could contain several layers of meaning and how artists developed forms capable of communicating around censorship. Learning to create and read these layers of meaning became useful to him as a choreographer and remained part of his artistic practice.<\/p>\n\n\n\n
The presentation then followed the longer development of this interest: from early choreography and a continuing attention to non-verbal communication, through years of artistic practice and further study, to Viviani’s later decision to investigate these questions more systematically.<\/p>\n\n\n\n
Alongside his work as a choreographer, Viviani returned to formal study through Cultural Sciences (Kulturwissenschaften<\/em>) at FernUniversit\u00e4t in Hagen. He regarded this as continuing education rather than a break from his artistic practice. Through these studies he encountered Oral History and recognized a methodological correspondence with questions he had carried through his artistic life: how can knowledge embedded in lived practice be investigated, articulated and placed within a historical context?<\/p>\n\n\n\n
The presentation argued that dancers can be unusually difficult interview subjects because dance contains forms of knowledge that are not primarily verbal. Studio communication can be pragmatic, affective, metaphorical and inseparable from movement. The challenge for the interviewer is therefore not simply to ask dancers to explain what they know, but to create conditions in which aspects of their experience can become narratable.<\/p>\n\n\n\n
A related question concerned the role from which knowledge is acquired. In an institutional dance environment, dancers experience creative processes according to their position within the theatre structure. Their memories therefore contain not only individual recollection, but knowledge shaped by their particular role, relationships and responsibilities.<\/p>\n\n\n\n
The presentation also introduced the idea that apparently simple biographical questions can open onto much wider historical contexts. A question such as \u201cHow did you start to dance?\u201d may begin as a personal biography and lead toward histories of education, cultural identity, political circumstances and artistic formation. The interview becomes a space in which these unexpected connections can emerge.<\/p>\n\n\n\n
One example from Viviani’s Oral History work concerns a dancer’s account of learning ballet in Dublin during the 1970s. What begins as a question about entering dance opens onto questions of cultural identity and the experience of studying ballet within a context shaped by the colonial relationship between Ireland and the United Kingdom. Such moments demonstrate how the apparent simplicity of a life-history question can reveal wider historical structures.<\/p>\n\n\n\n
The presentation therefore positioned Oral History not simply as a means of collecting memories, but as a form of inquiry in which the specific knowledge of the interviewer and the artistic field can help open questions that might otherwise remain inaccessible.<\/p>\n\n\n\n
Archival Material:<\/strong>
\nPresentation slides; presentation PDF; conference programme; research notes; related Oral History interview material; documentation of subsequent work on non-verbal communication in interviewing.<\/p>\n\n\n\n
\n\n\n\n\n\n\n\n
Post Scriptum \u2014 30 August 2026<\/h3>\n\n\n\n
This presentation is revisited as an early methodological statement in Ricardo Viviani’s development as an Oral Historian. The central concern was already the relationship between a non-verbal artistic practice and the verbal form of the interview, but the later methodology of explicitly helping practitioners articulate embodied knowledge developed further over subsequent years.<\/p>\n\n\n\n
The presentation is also important because it makes Viviani’s own biography part of the methodological record. His scientific education, artistic formation and long experience in choreography were not presented merely as credentials; they formed the perspective from which he approached questions of knowledge, communication and historical inquiry.<\/p>\n\n\n\n
Contribution \/ Ertrag:<\/strong>
\nThe presentation articulated a field-specific approach to Oral History in which experience gained through dance, choreography and the study of non-verbal communication informs the construction of interviews. It proposed that the interviewer’s knowledge of the artistic medium can help identify questions and forms of inquiry that are difficult to reach through generic biographical questioning alone.<\/p>\n\n\n\n
Assessment \/ Relevanz:<\/strong>
\nThe presentation is relevant as a record of the point at which Viviani’s accumulated artistic practice, continuing education in Cultural Sciences and emerging Oral History work were brought together explicitly. It is particularly useful for understanding the continuity between his earlier attention to non-verbal communication and his later work on the articulation of embodied knowledge, while preserving the distinction between the methodological question posed in 2019 and approaches developed subsequently.<\/p>\n\n\n\n
Keywords:<\/strong>
\nOral History; Performing Arts; Dance; Embodied Knowledge; Non-Verbal Communication; Biography; Life History; Interview Methodology; Artistic Research; Choreography; Cultural Sciences; Artistic Formation; Memory; Dance History; Positionality; Knowledge<\/p>\n\n\n\n
\n\n\n\n
External Links<\/h3>\n\n\n\n
Presentation PDF \u2014 Just Call Us Dancers<\/a><\/h4>\n\n\n\n
Oral History Association \u2014 2019 Annual Meeting Programme<\/a><\/h4>\n\n\n\n
Pina Bausch Foundation \u2014 Oral History Interview, 17 August 2018<\/a><\/h4>\n\n\n\n
Internal Links<\/h3>\n\n\n\n
Non-verbals in Oral History \u2014 Workshop for Interviewers<\/a><\/h4>\n\n\n\n
The Formation of Personal Value Systems as a Basis for Artistic Expression \u2014 2025<\/a><\/h4>\n\n\n\n
\n\n\n
\nArchival Note:<\/strong> This page forms part of an ongoing personal archive documenting Ricardo Viviani’s professional work and activities over more than four decades. Names and other personal information appear where relevant to the documented work or collaboration. If you believe that information concerning you has been published incorrectly or should be reconsidered, please contact me<\/a>.\n<\/p>\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Type: Presentation \u00b7 Oral HistoryDate: 17 October 2019Context: Oral History Association Annual Meeting, Pathways in the Field: Considerations for those Working In, On, and Around Oral HistoryLocation: Sheraton Salt Lake City Hotel, Salt Lake City, Utah, USAPanel: Oral History in Artistic MediumsRole: Presenter \u00b7 ResearcherAffiliation: FernUniversit\u00e4t in Hagen Panel Participants: Ricardo Viviani Kenneth Horowitz Daniel … <\/p>\n
Continue reading “Just Call Us Dancers”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,4],"tags":[11,94,98,95],"class_list":["post-2322","post","type-post","status-publish","format-standard","hentry","category-teacher","category-dancehacker","tag-choice","tag-dancehacker","tag-oral-history","tag-teacher"],"_links":{"self":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts\/2322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2322"}],"version-history":[{"count":2,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts\/2322\/revisions"}],"predecessor-version":[{"id":3214,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts\/2322\/revisions\/3214"}],"wp:attachment":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}