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Controller::loadModel() - CORE/cake/libs/controller/controller.php, line 634

Sprache

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Zeitlich

Geographisch

Nutzerkonto

André Lepecki: From Partaking to Initiating

From Partaking to Initiating
(S. 21 – 38)

p€ 9,95

Even in the most adverse environments…

André Lepecki

From Partaking to Initiating
Leadingfollowing as Dance’s (a-personal) Political Singularity

PDF, 18 Seiten, 0.0 MB

In this article, I will analyze several instances of so called "visual arts performance" where scores, scripts, instructions and re-enactments are predicated on a dancer's labor.
Departing from early scores by Bruce Nauman, where the first instruction for the works were the apparently neutral expression "hire a dancer" and ending with the recent Marina Abramovic show at NY's MoMA, where the majority of the performers were literally "hired dancers," this article explores the aesthetic implications of this economy in a politics of presence in contemporary performance.

Consensus about dissensus 

Over the past few years we have witnessed a convergence in critical discourse and political philosophy towards a generalized agreement on the relationship between art and the political. The terms of this agreement were clearly expressed not too long ago by Giorgio Agamben during a Conference not unlike this one, also dedicated to the relations between philosophy, politics, and art.¹ Concluding his intervention, Agamben stated: 

Art is not an aesthetic human activity that can also, in certain circumstances, acquire a political significance. Art is inherently political, because it is an activity that renders inactive and contemplates the senses and habitual gestures of human beings and in so doing opens them up to a new potential use. This is why art resembles politics and philosophy almost to the point of becoming one with them. What poetry does for the power to speak and art does for the senses, politics and philosophy must do for the biological, economic, and social activities – they show what the human body can do and open it up to a new potential use.² 

It is clear how Agamben’s articulation of what in art would be “inherently political” converges strongly with some of Jacques Rancière’s propositions on the link between art and politics, particularly under his concept of the aesthetic regime of art. To summarize an increasingly familiar notion, the aesthetic regime is characterized by a particular distribution of the sensible defined around “the idea of a sensible element torn from the sensible, of a dissensual sensible element.”³ Within the aesthetic regime, this element is what binds artistic acts with political acts. Indeed, as Rancière writes, “if there exists a connection between art and politics, it should be cast in terms of dissensus, the very kernel of the aesthetic regime.”⁴ In the aesthetic regime, art is connected to politics because both work to disconnect sensory experience away “from the normal forms of sensory experience”⁵, and because both understand the body as a reservoir of dissensual somatic-political capacities. To sensorially dissent is precisely to put those capacities towards new potential use (to invoke now Agamben’s terminology).  

Differently from Agamben however, Rancière’s identification and differentiation of several regimes of the arts (which do not necessarily correspond to any strict historical sequence, but may overlap within a certain epoch, and sometimes within one single work⁶) indicates that not every artistic practice is necessarily (or ontologically) political. The generic way Agamben states...

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Jacques Rancière
Tanz
Politik
Engagement
Körper
Potentialität
Giorgio Agamben
Singularität
Passivität

André Lepecki

ist Professor für Performance Studies an der New York University. Außerdem tritt er als Kurator internationaler Festivals und Veranstaltungen auf, so etwa im Haus der Kunst (München), der Hayward Gallery (London) oder dem Haus der Kulturen der Welt (Berlin).

Weitere Texte von André Lepecki bei DIAPHANES

»Yes, Now, It’s Good Theater«
In: Sandra Umathum (Hg.), Benjamin Wihstutz (Hg.), Disabled Theater

p€ 9,95

p€ 35,00

Stefan Hölscher (Hg.), Gerald Siegmund (Hg.)

Dance, Politics & Co-Immunity

Broschur, 288 Seiten

Vergriffen

PDF, 288 Seiten, 0.0 MB

This volume is dedicated to the question of how dance, both in its historical and in its contemporary manifestations, is intricately linked to conceptualisations of the political. Whereas in this context the term "policy" means the reproduction of hegemonic power relations within already existing institutional structures, politics refers to those practices which question the space of policy as such by inscribing that into its surface which has had no place before. The art of choreography consists in distributing bodies and their relations in space. It is a distribution of parts that within the field of the visible and the sayable allocates positions to specific bodies. Yet in the confrontation between bodies and their relations, a deframing and dislocating of positions may take place. The essays included in this book are aimed at the multiple connections between politics, community, dance, and globalisation from the perspective of e.g. Dance and Theatre Studies, History, Philosophy, and Sociology.

Inhalt

7–18

Introduction

Stefan Hölscher, Gerald Siegmund

pgratis
21–38

From Partaking to Initiating. Leadingfollowing as Dance’s (a-personal) Political Singularity ABO

André Lepecki

p€ 9,95
39–57

Dancing Politics. Political Reflections on Choreography, Dance and Protest ABO

Oliver Marchart

p€ 9,95
59–70

Working Out Contemporaneity. Dance and Post-Fordism ABO

Bojana Kunst

p€ 9,95
73–96

Coming Alive in a World of Texture: For Neurodiversity ABO

Erin Manning, Brian Massumi

p€ 14,95
97–108

Civilisational Wilderness or Civilderness and Cultural Immune Systems ABO

Ulaş Aktaş

p€ 9,95
109–131

Choreographing Participatory Relations.. Contamination and Articulation ABO

Petra Sabisch

p€ 14,95
135–144

On the Choreographic Production of Problems OPEN
ACCESS

Bojana Cvejić

p€ 7,95
145–161

Heteropolitics of Contemporary Dance. Xavier Le Roy’s “Le Sacre du printemps” ABO

Gabriele Brandstetter

p€ 9,95
163–177

Myth, Nationalism and Embodiment in “American Document” ABO

Mark Franko

p€ 9,95
181–191

Notes on the Politicality of Contemporary Dance OPEN
ACCESS

Ana Vujanović

p€ 9,95
193–208

The (Micro)Politics of Social Choreography. Aesthetic and Political Strategies of Protest and Participation ABO

Gabriele Klein

p€ 9,95
209–225

Mobilizing Dance. Toward a Social Logic of the Derivative ABO

Randy Martin

p€ 9,95
227–243

“My Private Bio-Politics”. A Performance on the Paper Floor (Third phase) ABO

Saša Asentić, Ana Vujanović

p€ 9,95
247–258

The Biopolitics of Modernist Dance and Suffragette Protest

Ramsay Burt

p€ 9,95
259–269

Politics of Immunization and the Precarious Life

Isabell Lorey

p€ 9,95
271–279

After Community: Condividuality

Gerald Raunig

p€ 7,95

Themen

Sprache

Typ

Zugang

Format

Kategorien

Zeitlich

Geographisch

Nutzerkonto

Even in the most adverse environments…

Consensus about dissensus

In: Sandra Umathum (Hg.), Benjamin Wihstutz (Hg.), Disabled Theater

7–18

Stefan Hölscher, Gerald Siegmund

21–38

André Lepecki

39–57

Oliver Marchart

59–70

Bojana Kunst

73–96

Erin Manning, Brian Massumi

97–108

Ulaş Aktaş

109–131

Petra Sabisch

135–144

Bojana Cvejić

145–161

Gabriele Brandstetter

163–177

Mark Franko

181–191

Ana Vujanović

193–208

Gabriele Klein

209–225

Randy Martin

227–243

Saša Asentić, Ana Vujanović

247–258

Ramsay Burt

259–269

Isabell Lorey

271–279

Gerald Raunig

Consensus about dissensus 