{"id":2572,"date":"2025-05-15T09:00:59","date_gmt":"2025-05-15T07:00:59","guid":{"rendered":"https:\/\/www.ricardoviviani.com\/?p=2572"},"modified":"2026-08-30T23:34:12","modified_gmt":"2026-08-30T21:34:12","slug":"international-scientific-conference-kyiv-2025","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=2572","title":{"rendered":"The Injustice of Being Silenced"},"content":{"rendered":"\n
\"Ricardo
Ricardo Viviani<\/figcaption><\/figure>\n\n\n\n

Type:<\/strong> Presentation \u00b7 Online Contribution
Title: <\/strong>The Injustice of Being Silenced
Date:<\/strong> 15\u201317 May 2025
Context:<\/strong> I International Scientific and Practical Conference Personality as a Space for Challenging and Forming the Culture (under Martial Law)<\/em>
Location:<\/strong> National Academy of Managerial Staff of Culture and Arts, Kyiv, Ukraine
Organizer:<\/strong> Impulse Transformation Platform
Role:<\/strong> Presenter \u00b7 Researcher<\/p>\n\n\n\n

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The Injustice of Being Silenced<\/strong> examines the relationship between artistic formation, personal value systems and the social and political environments in which artists come of age. The presentation draws on Ricardo Viviani’s experience both as a dance artist and as an Oral Historian working with life histories of dancers and other practitioners.<\/p>\n\n\n\n

The presentation begins from the observation that artistic expression may register aspects of a person’s historical and social experience before those experiences can be fully analyzed or consciously articulated. Dance, theatre, music and performance can therefore provide traces of lived histories that exceed what can later be expressed verbally.<\/p>\n\n\n\n

Viviani connects this observation to his own artistic formation during the Brazilian Military Regime (1964\u20131985), when dance, music and theatre developed forms of expression shaped by political constraint and resistance. The presentation considers comparable situations in other cultural contexts, including Ireland, Germany and the Balkans, where artists worked under political and social pressure.<\/p>\n\n\n\n

A central concept is the idea of \u201canti-biographies\u201d<\/strong>. Viviani uses this term for sequences of events in a person’s biography that become meaningfully contextualized through questioning and the construction of narrative. In this sense, the interview does not simply reproduce a biography already known; it can bring relationships between experience, context and value into articulation. The process has an affinity with oral traditions, in which knowledge is transmitted in forms responsive to the needs and circumstances of the present.<\/p>\n\n\n\n

The presentation also considers the relationship between embodied and verbal knowledge. While Oral History is transmitted through the voices of living individuals, artistic works may embody a broader spectrum of lived experience that cannot always be directly articulated in words. Artistic expression can therefore become an additional source through which personal and collective histories may be approached.<\/p>\n\n\n\n

The accompanying research notes develop these questions through case studies including Ballet Stagium and the Dzi Croquettes under the Brazilian Military Regime, as well as examples concerning divided Germany, Ireland, the Yugoslav Wars and other situations in which artistic expression developed under political or social duress. These examples examine how cultural agents developed forms, vocabularies and practices capable of expressing experiences that could not always be stated directly.<\/p>\n\n\n\n

The presentation connects these observations to Viviani’s broader practice as a choreographer and Oral Historian. His personal history is not treated only as biographical information, but also as part of the perspective through which research questions are formed and artistic expression is understood.<\/p>\n\n\n\n

Archival Material:<\/strong>
\nConference abstract; presentation notes; presentation material; related research and bibliographic notes; documentation of the online contribution.<\/p>\n\n\n\n

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Post Scriptum \u2014 30 August 2026<\/h3>\n\n\n\n

This entry is revisited in relation to the continuing development of Ricardo Viviani’s thinking about artistic formation, Oral History and embodied knowledge. The 2025 presentation extends questions that were already present in his earlier Oral History work, while placing stronger emphasis on the formation of personal value systems through political and cultural experience.<\/p>\n\n\n\n

Contribution \/ Ertrag:<\/strong>
\nThe presentation brought together two perspectives that are central to Viviani’s practice: the personal experience of artistic formation and the accumulated observation of artists’ life histories through Oral History. Its contribution lies in proposing that artistic works and embodied practices can provide evidence of value systems and historical experience that are not fully accessible through verbal testimony alone, while the interview can help contextualize those experiences through narrative.<\/p>\n\n\n\n

Assessment \/ Relevanz:<\/strong>
\nThe presentation is relevant as a point of convergence between Viviani’s autobiographical perspective as an artist and his developing methodological perspective as an Oral Historian. Its use of \u201canti-biography\u201d identifies a particular way in which questioning can activate relationships within a life history, allowing experience to be reconsidered in relation to the present. The presentation also provides a bridge between his earlier methodological reflections on the relationship between dance and Oral History and his later interest in the articulation of embodied knowledge.<\/p>\n\n\n\n

Keywords:<\/strong>
\nPersonal Value Systems; Artistic Expression; Oral History; Embodied Knowledge; Biography; Anti-Biography; Dance History; Artistic Formation; Cultural Memory; Political Context; Brazilian Military Regime; Resistance; Dance; Theatre; Performing Arts; Historical Experience; Identity<\/p>\n\n\n\n

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External Links<\/h3>\n\n\n\n

Impulse Transformation Platform<\/a><\/h4>\n\n\n\n

Jill Stauffer \u2014 Ethical Loneliness: The Injustice of Not Being Heard<\/em><\/a><\/h4>\n\n\n\n

Ballet Stagium<\/a><\/h4>\n\n\n\n

Rafael Guarato \u2014 \u201cDan\u00e7a, ditadura civil-militar e pol\u00edticas de dan\u00e7a nas obras \u2018Quebradas do Mundar\u00e9u\u2019 e \u2018Kuarup…\u2019 do Ballet Stagium\u201d<\/a><\/h4>\n\n\n\n

Grundgesetz f\u00fcr die Bundesrepublik Deutschland \u2014 Article 2<\/a><\/h4>\n\n\n\n

Dzi Croquettes<\/em> \u2014 IMDb<\/a><\/h4>\n\n\n\n

Internal Links<\/h3>\n\n\n\n

Just Call Us Dancers \u2014 Oral History in the Performing Arts<\/a><\/h4>\n\n\n\n

The Injustice of Being Silenced \u2014 Presentation Notes<\/a><\/h4>\n\n\n\n
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\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 Online ContributionTitle: The Injustice of Being SilencedDate: 15\u201317 May 2025Context: I International Scientific and Practical Conference Personality as a Space for Challenging and Forming the Culture (under Martial Law)Location: National Academy of Managerial Staff of Culture and Arts, Kyiv, UkraineOrganizer: Impulse Transformation PlatformRole: Presenter \u00b7 Researcher The Injustice of Being Silenced examines … <\/p>\n

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