No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)

The audiovisual work of collective creation No! Twelve interventions by Argentine artists on a scene by Pina Bausch was coordinated by Marcelo Delgado in 2020 in the context of social isolation due to the Covid–19 pandemic. This case study is particularly complex and can be analyzed from several angles. In this case it is a fragmentation procedure (Bartoszynski, 1998) of a scene extracted from the film Pina by Win Wenders (2011) which is, in turn, a part of the contemporary dance work Kontakthof by Pina Bausch (1978). To this selected fragment, several artists invited by the composer apply a resonorization. They are subsequently disseminated on Youtube and in an Internet blog. This work of resonorizing and integrating in a series of twelve sound interventions gives a new and current meaning to the selected and recontextualized scene, since it allows to make visible and reflect on gender violence. For this reason, this article focuses on the analysis of the performances and the emotional–political meanings constructed from the bodies of the performers who participate in a kind of deferred dialogue with the dancers in the film. This work proposes a hermeneutic–critical analysis of these sound interventions, interweaving categories from critical musicology, gender theories and performance studies, and incorporating theoretical–methodological tools from the affective turn and dance studies to think about contemporary musical practices and their social–historical meaning. Although there are twelve sonorizations, the analysis focuses on two —Nati Iñón's Nº9 and José Halac's Nº10— which present vocal particularities that favor an interpretation with a gender perspective and that allow us to establish political–cultural links with the emotions embodied in voices and bodies.