1. Embodied Art and Aesthetic Performativity in theLondon 2012 Handover to Rio (2016)Dr Rodanthi Tzanelli (r.tzanelli@leeds.ac.uk)Sociology & Social Policy, University of Leeds

2. Brazil, Rio and regional scene

3. Context of upcoming Rio 2016and Brazilian (post)colonial phantoms Brazils colonial heritage as phantom: welcome toDarwns tourist terra nova Brazils authoritarian heritage as phantom: fromGetulio Vargas (1964-1989) to neoliberal realities Brazils Olympic legacy (post-2016 to become heritage) Production of contested hybridities and travellingcultural commodities based on blood lineage andconceptions of suffering: slavery, dictatorialoppression, neoliberal geographical divides, new athleticethic of laudible effort

4. The spectacles clichs dont misrepresent us, but we want toshow other ways in which we mix. We are very far from Europeand North America. [] We get this information and wereinvent.[] This is our spirit, this is how we produce culture.Cao Hamburger,Credit: DivulgaoDaniela Thomashttp://redutocultural.blogspot.co.uk/2010/05/entrevista-com-daniela-thomas-cineasta.html

5. Camerawork, Olympicperformance and the Truth Elevation of hybridity as mixing to an all-embracing good value. Hidden behind this utopian abstraction is a well-established disjunction between multiculturalismas an ideal and multicultural political realitiesthat are shoved under the carpet. Facts behind utopia: handovers performancesframed by collection of representations ofNortheastern Brazilian genres Old question of ownership: who is cast as merewage labour or elite artist and who takes fullcredit for the product beyond loyalties?

6. Imperatives beyond individual artwork What do directors choose to present,how and why? How: cultural style, situated aesthetics Rio 2016 aesthetics as judgement overwhat is beautiful and worthy asvalidated by senses Why: physical and cognitive dimensionscollaborating in producing judgementsabout the socio-cultural world we inhabit(cosmology)

7. Handovers focus:synergy of senses Visual: Coloured costumes and black-white performers Aural: (1) Rios and Brazils blend ofmusical traditions, including samba, (2)new hybrid tunes and poperatic singing Kinaesthetic: (1) samba dance, Carnavaland Candombl rituals, (2) leisureregimes as in football Brazilian tradition facing Westernmodernity or a meeting point ofdifference?

8. Syn-aesthesia To capture the mind-body complex ofBrazilian performativity Deriving from a real disorder(synaesthesia as replacement of onesense with another) Performative synaesthetics: productivere-ordering of narrative (not neural!)pathways through combinations ofimage, movement, touch, smell andsound

9. Rios allegory and IOCs categories InternationalOlympic Committee:preservation ofOlympic ethicalchart/principles ofgoodness, fairnessand European beauty Rio 2016: allegory orethno-nationalworldview appearedto be aligned withthese principlesLeft to Right:London Mayor B. JohnsonIOC President J. RoggeRio Mayor Eduardo Paes

10. Rios allegory asBrazilian joy and passion Stress on physical and affective aspects,not really about Olympic aesthetics butBrazils postcolonial interpretation ofencounters with world European goodness (cosmopolitanism)not Brazil/Rios cosmeticcosmopolitanism Rios allegory treating surfaces (form)and emotion as meaning (content)

11. Rios cosmetic cosmopolitanism Joy/passion as deep cosmopolitanstatements:1. as internal dialogue on racial inequalities,social difference and geographicalmarginality2. as aesthetic and political collusion withhegemonic worldviews (IOC, EuropeanEnlightenment, Cartesian divide betweenmind and body) First statement contradicts the second, asBrazils modernity path contradicts that ofcolonial and postcolonial Europes pathways

12. Ex. 1: Sorriso as favela sambistavs. Scheidt as athletic human Sorriso as black human:from street cleaning toRio Sambadrome tomusic and film industryand nationally/globallyrecognised dancer Scheidt as white human:multiple medal-winingOlympian but notcompetent dancer Clashes of 2 forms oflabour Brazilian e-motion asanti- or post-Cartesianstatement

13. Ex. 2: Marisa Montes auralperformance White (-dressed) body/formenclosing black content(Candombl) Mixed professional training(samba to European opera) Handovers focus: BachianaNo. 5 from the BachianasBrasileiras 9 suites -- Musical blend(Northeastern inspiration +Bach) Montes overall appearancerepresentative of popera Inviting synaesthetic travelakin to thanatotourism

14. Sambistas and the CarnavalCredit: Andrew Osborne (Flickr)

15. Seu Jorge: from samba slumsto global cinematic Truths Brazilian musician,singer, songwriter andactor Raised in a favela northof Rio de Janeiroknown as the city ofBelford Roxo. Considered by many asan artist that renewedBrazilian pop sambathrough global blends City of God (2002) The Life Aquatic withSteve Zissou (2004)

16. Ambrsio as Brazils cosmetic cosmopolitanism:ex. 3 of synaesthetic performativityAmbrsios perfomance with BLACKsamba dancers and singers.The singer B-Nego(second left), themodel Alessandra Ambrsio(middle) and Renato Sorriso (firstleft)SURFACES AS ENNOBLED NON-EUROPEAN AESTHETICS: BLACKNESS +FEMININE GRANDSTANDING

17. Trickery as tourist performativity:Pele the Malandro Brazilian statement contraEuropean-Olympic categories offairness Malandro as cinematic character:bad boy akin to con man in touristtrade across Latin Americancultures Body (love-man) deceivingmind/senses (foreign thought) BUT Pele reconciles this anti-Cartesian statement with Olympicathleticism and insertion of blacklabour (football) into culturalindustries (cinematic appearances,music composition, Ubisoft gamepersona)Source: Mail Online, 13 August 2013

18. Handover ceremony(You Tube)Rodanthi Tzanellir.tzanelli@leeds.ac.uk