Professional Documents
Culture Documents
Thinking Resistances
Current Perspectives on Politics and Communities in the Arts, Vol. 1
Edited by
Gerald Siegmund und Stefan Holscher
diaphanes
as
Table of Contents
Andre Lepecki
From Partaking to Initiating:
Leadingfollowing as Dance's (a-personal) Political Singularity
21
Oliver Marchart
Dancing Politics. Political Reflections on Choreography,
Dance and Protest
39
Bojana Kunst
Working Out Contemporaneity. Dance and Post-Fordism
59
73
Aktas
97
Petra Sabisch
Choreographing Participatory Relations
Contamination and Articulation
109
Bojana Cvejic
135
Gabriele Brandstetter
145
Introduction
163
Moving Times
Mark Franko
Myth, Nationalism and Embodiment in "American Document"
The past ten years have seen a re-emergence of the need to think about
and conceptualise the arts in general and dance in particular in terms
Ana Vujanovic
Notes on the Politicality of Contemporary Dance
181
laying bare the ideological underpinnings of its claim for artistic free
Gabriele Klein
dom and criticality. If Eve Chiapello is right in claiming that the current
ment of some kind from the artistic field. What is more, these changes
increasingly affect the production and reception of dance itself, thereby
193
the social and its demand for freedom into its very own mode of opera
tion, the arts are indeed in a conundrum.1 The freedom of the artists,
so it seems, equals the freedom of globalised capital and its modes of
Randy Martin
Mobilizing Dance
Toward a Social Logic of the Derivative
209
1977 and
1979, is more pertinent than ever.2 Whereas the citizens of the one
society, which he developed in his lecture series between
227
5 . Th e Politics o f Community
Ramsay Burt
The Biopolitics of Modernist Dance and Suffragette Protest
247
Isabell Lorey
Politics of Immunization and the Precarious Life
259
Gerald Raunig
After Community: Condividuality
2 71
Notes on Contributors
281
1 Eve Chiapello, "Evolution und Kooption. Die 'Kiinstlerkritik' und der normative
Wandel'", in Christoph Menke und Juliane Rebentisch, eds., Kreation und Depression.
Freiheit im gegenwiirtigen Kapitalismus (Berlin: Kadmos, 2010), pp. 38-51.
2 Michel Foucault, Sicherheit, Territorium, Bevolkerung. Geschichte der Gouver
nementalitiit I (Frankfurt a. M.: Suhrkamp, 2006); Michel Foucault, Die Geburt der
Biopolitik. Geschichte der Gouvemementalitiit II (Frankfurt a. M.: Suhrkamp, 2006).
health is cared for while they are being deprived of a possible shared
way of life.
These developments have a double relation to the field of dance.
Firstly, they rely on the individual body and its ability to move as their
basic unit of operation. Secondly, they are concerned with distributing
these bodies in space, therefore choreographing their movements
according to the necessities of the global economy. Dance and its
artistic communities have indeed become a model for neo-liberal
flexibility and self-exploitation. Given these circumstances, how can
we think about the relation between dance and politics today without
repeating neo-liberal demands and constraints? This volume focuses
on recent developments in contemporary dance and the production of
new spaces for collaboration and exchange. In how far do they help
to reformulate what could be called the "becoming immanent of the
world"? 3
3 See Gilles Deleuze, Felix Guattari, A Thousand Plateaus, transl. Brian Massumi
(New York: Continuum, 2004) .
4 Thoinot Arbeau, Orchtsographie, Reimpression precedee d'une Notice silr Jes
Danses du XVIe siecle par Laure Fonta, reprint of the edition Paris 1888 (Bologna:
Bibliotheca Musica Bononiensis, 1981).
the dance floor. 6 And yet, as with Arbeau's measure and tact, the body
is not just an executive of royal power. The complex semiotic system of
notation articulates a dead body devoid of life that, like Frankenstein's
monster, has to be brought to life by contact with a material body, its
breath and rhythm. The total technobody, as Mark Franko calls the
body of the Baroque dancer .7 is an active agent in negotiating signs and
physical demands in order to produce a body that is neither the body
of the individual dancer (which is de-corporalised in the process) nor
the body of the king (which would be a sacrilege and an impossibility) .
The body, here, follows the logic of a supplement. The king's transcen
dent body is the supplement to God's will, and the dancer's body is
the supplement to the king's imaginary incorporation of the social and
political. A third body emerges in dancing, a body that re-corporalises
and enacts the ideal of the state as a constructed physical reality.
As Claude Lefort points out, since the French Revolution society
has vacated the place of the monarch whose body guaranteed the
stable link between power, knowledge and legislation. 8 As citizens of
a democracy, we live in disembodied times . This fundamental lack of
a foundational body that is transcendent and immanent at the same
time representing the unity of the nation state and its members, lies at
the centre of the continuous need of society to found itself. Without
foundations in the king's body, this foundational act is forever contin
gent. It arises from a fundamental absence that Oliver Marchart links to
Heidegger's idea of ontological difference. 9 As such, it is a radical dif
ference excluded and precluded from the general play of differences, as
it marks the condition of its possibility. In other words, the ontological
difference with its absence of foundations gives rise to the possibility
of and the need for antagonism, change, and the possibility to always
found anew.
The question, then, remains: what happens to the bodies in a time
when they themselves are sovereigns of the democratic state whose life
depends upon their lives? Which role, then, does the dancing body play
6 Jean-Noel Laurenti, "Feuillet's Thinking", in Traces of the Dance, ed. Laurence
Louppe (Paris: Editions Dis Voir, 1994) , pp. 81-108.
7 Mark Franko, Dance as Text. Ideologies of the Baroque Body (Cambridge:
Cambridge University Press, 1993).
8 See Daniel Gaus, "Demokratie zwischen Konflikt und Konsens. Zur politischen
Philosophie Claude Leforts", in 0. Fliigel, R. Heil and A. Hetzel, eds., Die Riickkehr
des Politischen. Demokratietheorien heute (Darmstadt: WBG, 2004), pp. 65-86; Oliver
Marchart, "Claude Lefort: Demokratie und die doppelte Teilung der Gesellschaft",
in Wrich Bockling und Robert Feustel, eds., Das Politische Denken. Zeitgenossische
Positionen (Bielefeld: Transcript, 2010) , pp. 19-32.
9 Oliver Marchart, Die politische Differenz (Berlin: Suhrkamp, 2010) .
10
10 Andrew Hewitt suggests this with his idea of "social choreography"; Andrew
Hewitt, Social Choreography. Ideology as Performance in Dance and in Everyday
Movement (Durham and London: Duke University Press, 2005).
11 See Gerald Siegmund, Abwesenheit [Bielefeld: Transcript, 2006); Gerald Sieg
mund, "Impossible Choreographies: Negotiating Choreography, Letter and Law in
William Forsythe's Pieces", in Susanne Manning and Lucia Ruprecht, eds., New
German Dance Studies (Champaign: University of Illinois Press, 2012) , Chapter 13;
see also Oliver Marchart's and Bojana Kunst's essays in this volume.
12 See for instance: Hans-Thies Lehmann, Politisches Schreiben (Berlin: Theater der
Zeit, 2002) , pp. 11-21.
11
12
bodies, but also split and share that which is separated and yet united:
the community of bodies as well as their words and the objects they
produce. The renaissance of the political goes hand in hand with the
rebirth of a long discredited term: community. In the German political
tradition of Ferdinand Ti:innies, community - in a Romantic under
standing - is opposed to society. In the works of Jean-Luc Nancy and
Roberto Esposito, however, community no longer appears as a simple
opposition to political developments, but rather as a contested space
of discussion that risks community in a dialogue between equals.
Although contemporary developments in world politics and world
economy establish increasingly asymmetrical relationships between
people, it is the idea of a community of equals that may subvert these
developments.
1.
The essays grouped together under this heading locate the critical
and political dimension of dance in the kind of excessive enjoyment it
produces, thus bestowing agency on its subjects.
In his contribution to this volume, Andre Lepecki identifies Jacques
Ranciere's notion of subjectivity implicit in his concept of the aesthetic
regime as one of disinterested perception. Although Lepecki appreci
ates the idea of a suspension of the hierarchy between form and matter,
and, respectively, activity and passivity and the free play of faculties as
it was conceived by Kant and Schiller, he underlines that there is a cer
tain danger inherent in notions of aesthetics derived from German Ide
alism. The free play of perception may work perfectly well within the
fluid patterns and flexible powers of what Gilles Deleuze once named
the society of control. According to Lepecki, what is needed today is a
new concept of initiation derived from the notion of energeia.
13
Rather than looking for the political potential in various dance prac
tices, Oliver Marchart raises the question of what could be dance-like in
political acting. Taking his cue from Emma Goldman's famous slogan,
"If I cannot dance, I don't want to be part of your revolution," Marchart
provocatively asks: "what if political acting had the same structure as
dance? " The dance-like dimension of political acting draws on dance
as an excessive supplement that provides physical enjoyment or jouis
sance in order to bridge the inevitable gap between the cause of the
protest and the object attained. Supplementing Hannah Arendt's claim
for public happiness through communal dance-like political action,
Marchart proposes four categories that distinguish ordinary dancing in
the street form political dancing. To dance politically is not just fun,
but also goal oriented and tactical; it is communal, antagonistic and
blocks the ordinary flow of events.
Bojana Kunst claims the centrality of movement for both modernist
and Post-Fordist production modes. Whereas in the first half of the
zoth century movement was mechanically cut up only to be interiorised
again for workers to enable them to function smoothly, Post-Fordism
relies on the radical exteriorization of movement. Thus, the relational
aspect of movement, its rhythms, accelerated speed and rate of
connectedness to others and the world is manipulated by the control
society we live in. Therefore, Kunst pleads for new forms of resistance
to the temporal capture of our movements which draw on movement's
ability to disturb the smooth flow of events. Simply because the body
can walk and dance, it can find perverse pleasure in distancing itself
from and mocking any kind institutional mechanism and allows us to
find new embodied ways of moving together.
14
3.
15
4.
Contrary to modernist belief, the essays in this section share the view
that choreography is not confined to a separate aesthetic sphere.
Rather, it moves towards what Andrew Hewitt calls social choreog
raphy. Arguing with modernist assumptions of the political nature of
theatre and dance, Ana Vujanovic identifies three modes of relating art
to politics: engaged performance, the politicality of the performance
medium, and the political nature of modes of production. Since in
neo-liberal economies, performance and politics are ambiguously close
to each other in sharing the same visibility and, as a consequence, a
certain self-exhaustion in the public sphere, she argues for a specific
politicality of contemporary dance, which intervenes in specific con
texts in order to transform them. Seen from this perspective the how of
political acting becomes at least as much - if not even more - pertinent
than the what.
Gabriele Klein deals with the question of participation both in public
space and in art institutions. As for Ana Vujanovic, for her aesthetic
strategies and sensibilities are no longer confined to a separate artistic
sphere, but infiltrate the public sphere and our everyday lives on a
profound level. Understood as social choreographies, choreographies
do not exist separately from social norms and structures. Instead, they
perform them. The social choreographies and their micro-politics are
then located in the various tensions between protest and participa
tion and hint toward a globalized world in motion. Klein distinguishes
between three modes of audience participation that she calls implicit,
taking part and involvement.
Randy Martin is interested in the logic of what he calls the social
derivative, especially in times of an obvious (financial) crisis. Rather
16
than seeing crisis only in negative terms, h e tries to focus on its positive
implications and productive consequences, especially for strategies of
self-organization of bodies in choreography. In Martin's scenario, after
the crash of a sovereign body politic, the surplus of derivative activities
of bodies and their dances cannot be managed and contained anymore.
They develop a constituent power and a weight of their own.
SafaAsentif and Ana Vujanovic reflect on their piece My Private Bio
politics, which was shown as part of the conference in November 2010.
Their text consists of a series of combined email exchanges and other
material that, at first, were produced back-stage in the course of the
preparation for the piece. The text highlights the complex overlapping
of different kinds of politics, between expectations of how to enter the
Western dance market from the East, and, from the perspective of the
West, the right to define what a contemporary dance piece looks like.
It sheds light on the actors who constitute the field in which they are
simultaneously embedded: choreography.
5.
Departing from the notion of social protest that underlies almost all of
the above essays, this section explicitly deals with the notion of com
munity and questions its status in the current political debate. In his
text on early 201h-century protest, Ramsay Burt juxtaposes the political
protest of the Suffragette movement and Nijinsky's choreography of Le
Sacre du Printemps. Drawing on the tropes of biopolitics and immu
nity in Roberto Esposito's work, Burt identifies both Emily Howard
Davison's death and Maria Plitz's dancing of the role of the Chosen
One as sacrifices for a change in and a re-definition of the national
community. He proposes that both the modernist ballet and political
activism are expressions of feminist protest: a physical protest against
the state's invasion of its people's private spheres and the increasing
biopolitical power over their life.
Taking an oppositional standpoint, Isabell Lorey holds that under
the current rule of governance communitarian protest und resistance
tend to be immunized by the ruling powers. She distinguishes between
three figures into which the politics of immunization can be divided.
Whereas the first two figures of the immune juridical immunity and
biopolitical immunization both confirm domination, Lorey's third
category, constituent immunization, is a subversive figure. To develop
this, she turns to the motif of exodus in a story told by Titus Livius
about the conflict between the plebeians and the patricians in Ancient
Rome and its adaptation in contemporary postoperaist discourses.
-
17
Thus, new forms of protest turn away from the politics of identity and
representation in order to invent new political forms and practices
focusing on the common rather than on community.
Gerald Raunig, finally, takes a closer look at the revival of the idea of
community in the field of art during the last decade. He suggests that
the focus on community, because of its historical implications, is the
wrong solution to our contemporary problems because it is too much
based on notions of the individual as that which cannot be divided. He
contrasts this traditional idea with what he names "condividuality" as
an assemblage of infinitely dividable "dividuals".
The international symposium "Dance, Politics, and Co-Immunity"
took place from the 11 th to the 14th of November 2010 at Justus Lie
big University in Gief!.en (Germany) . It would not have been possible
without the help of a lot of people, especially the wonderful students
of the Institut fiir Angewandte Theaterwissenschaft at the University
of Gief!.en. We would especially like to thank Sebastian Schulz for
making sure that everybody's voice could be heard loud and clearly
during the lectures, Mark Schroppel and Philipp Karau for recording
it all on camera, Georg Docker and Anna Schewelew for their immea
surable energy and patience with all the detailed preparations and
their endless capacity to help while the conference was on its way. As
an integral part of the conference, artistic statements by dance mak
ers dealing explicitly with the issues raised in the present book were
invited. We would like to thank Sebastian Schulz and Verena Billinger,
Xavier le Roy, and Sa5a Asentic for presenting their pieces under less
than ideal circumstances. Without the technical support and exper
tise of Bernhard Greif, Katharina Stephan and Alice Fer! these produc
tions could not have been shown on the small stage of the Probebiihne
of the Institute. The students of the MA programme " Choreography
and Performance", Billy Bultheel, Franziska Aigner, Uri Turkenich,
Tessa Theisen, Rose Beermann, Iva Sveshtarova, and Antje Velsinger
organised a salon for exchange, discussions, and dancing. The confer
ence was sponsored by Deutsche Forschungsgemeinschaft (DFG) and
Hessische Theaterakademie (HTA) . We would also like to thank the
Kulturamt of the city of Gief!.en for supporting the performances pre
sented during the conference. Last but not least: Thanks to the organiz
ers of the joint conference Thinking-Resisting-Reading the Political. Our
gatherings took place in parallel events, yet they developed out of a
close and productive exchange of thoughts within a project commonly
elaborated between the initiators of Communications: Dance, Politics,
and Co-Immunity and Anneka Esch-van Kan, Stephan Packard, and
Philipp Schulte.
18
Andre Lepecki
From Partaking to Initiating: Leadingfollowing as Dance's
(a-personal) Political Singularity
use. T his 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
21
the aesthetic regime, this element is what binds artistic acts with
political acts. Indeed, as Ranciere 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 con
nected 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, Ranciere'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 the connection, or ontological
community, between art, philosophy, and the political, appears in
Ranciere under the sign of particular singularities, of sudden breaks
and cleavages brought about by dissensual artistic and political
manifestations (demonstrations) . Only under the specific conditions
set up by the aesthetic regime are artistic manifestations able to be truly
dissensual - i.e., are able to open up a fissure in the habitual weaving
of the fabric of the sensible. In the aesthetic regime, art and the political
gain symmetry: the political (as opposed to the business of making
politics) is simultaneously traversed and constituted by the aesthetic
(understood now as a disruptive-inventive-cleaving force) . This is
why Ranciere can write that "there is thus an 'aesthetics' at the core
of politics that has nothing to do with Benjamin's discussion of the
'aestheticization of politics' specific to the 'age of the masses'. "7 In the
age of the aesthetic regime of the arts, of which our contemporaneity is
a part, art partakes of the political and the political partakes of art only
when both produce ontological-perceptual disjunctions and eccentric
movements in language and sensation; only when both promote a
disbanding of circulatory imperatives tied to linguistic and behavioral
cliches for subjectivity.
22
23
a semantic play around these two words. I am bringing this issue for
our consideration moved by a recent encounter with a (relatively) old
And couldn't we say that this consensus risks deflating and defusing
other forces traversing the political kinetic, i.e.: the differential, evental
dissensus? In agreeing to
avant-la
lettre) , actually promotes a very disturbing conservatism. I am referring
politically Merce
Cunningham's work?" asks the author. His answer: "I think so. "14
sudden, and despite very good intentions, place us under arrest. Stuck
Interestingly, the question of the relation between dance and the politi
in a place that consensus has built. Even if being stuck happens under
call a partage du sensible (even if his essay was published years before
Ranciere coined the expression). Copeland makes one single claim: "in
the mold and to stay fit. It is to circulate not only because one is told
1 1 See Ranciere, Dissensus, p. 37. As he states there: "The police is that which says
that here, on this street, there is nothing to see, and so nothing to do but to move
along."
24
land, "The Politics of Perception", The New Republic, November 17, 1979, pp. 25-30.
The article had a call for it on the magazine's cover, with the header Unnatural
dance.
13 Copeland repeats the exact same argument thr oughout most of his more recent
book Merce Cunningham: the modernization of dance (London, New York: Routledge,
2004) . Copeland's book was published before the English translations of Ranciere's
Aesthetics and Politics, or his more recent collection of essays Dissensus.
14 Ibid., p. 312.
15 ibid., p. 311.
16 Ibid., p. 313.
17 Ibid., ibid.
18 Ibid., ibid.
25
19 Ibid., p. 2 14.
20 Ibid., p. 16.
21 Ibid. , p. 1 7.
26
sensus as the binding element between the aesthetic and the political
in the aesthetic regime.
To summarize my points so far, we find outlined in Copeland's 1979
essay (and again in his 2004 book) , all the conditions defining the aes
thetic regime's dissensual (political-artistic) dimension: 1) an aesthetic
object (Cunningham's choreography) is seen as proposing a dissensual
severance between all elements that make up its plane of composi
tion; 2) that severance and constitutive dissensus is what promotes
the spectator's perceptual freedom; 3) perceptual freedom is described
as initiating the "practice of a politics of perception" when watching
Cunningham's choreography; 4) such a politics of perception is then
aligned to a critical mode of choreographing temporality predicated on
the formation of lags or intervals or gaps in the fabric of the temporal;
and 5) all of these points coalesce around the hope that such a mode
of creating a choreo-politics of perception would offer the occasion
and the tools an audience would need to escape sensorial conditioning
(along with its concomitant conditioning of subjectivity) .
I could not agree more with Copeland's description of the Cunning
ham-Cagean project. What disturbs me is Copeland's conscription of
their project - away from what he called "those denizens of the cultural
left. " And what disturbs me even more is how Copeland describes this
whole "liberation" of the sensorial found in Cunningham as initiating
a desirable, and for Copeland indeed much needed, "politics of disen
gagement. " Again, and for the last time, Copeland: "In some contexts,
a politics of disengagement can perform a more radical function than
a politics that is more conventionally 'engaged'. "22
An in-depth critique of Copeland's ideology is not really the point
of this paper. I am invoking Copeland's essay and book as stumbling
blocks on current discourses on the politics of perception and the poli
tics of aesthetics. Stumbling blocks which have the merit to demon
strate how notions of the political in art, once tied exclusively to effects
derived from dissensual sensorial redistribution, may lead us to certain
odd, undesirable, and politically problematic positions. For instance,
the one resulting from tying the notion of a politics of perception directly
with an ethics and kinetics of "dis-engagement. " Copeland's analysis
does have the merit of at least uncovering the repressed material strati
fied in the political unconscious of current theoretical considerations
on the relations between art and politics. His approach reminds us
that a politics of perception, a politics of the sensible, a politics of dis
sensus could all still take place under the sign of a generalized, and
22 Ibid., p. 14.
27
23 Ibid., p. 16.
24 Ibid., p. 14.
25 "I call 'distribution of the sensible' a generally implicit law that defines the forms
of partaking by first defining the modes of perception in which they are inscribed.
[ . . . ] This partition should be understood in the double sense of the word: on the
one hand, as that which separates and excludes; on the other, as that which allows
participation." - Ranciere, Dissensus, p. 36.
28
29
28 As Gabriel Rockhill explains, for Ranciere, "the essence of the police, therefore,
is not repression but rather a certain distribution of the sensible that precludes the
emergence of politics." - Ranciere, Politics of Aesthetics, p. 89.
29 Arendt, Human Condition, p. 206.
30 See Randy Martin, Critical moves: Dance studies in theory and politics (Durham:
Duke University Press, 1998).
31 See Mark Franko, Dandng modernism/performing politics (Bloomington: Indiana
University Press, 1995) .
30
31
32 For verbs as events, see Gilles Deleuze, The Logic of Sense (New York: Columbia
University Press) : "For it is not true that the verb represents an action. It expresses
an event. " - Ibid., p. 184.
33 Arendt, Human Condition, p. 1 77.
32
that arkhe also means to walk at the head (of a group) and concluded:
"if there is one who walks at the head, then the others must necessar
ily walk behind. "34 Ranciere further characterized the actions of those
who "walk behind" in ways that somewhat describe (I want to empha
size here, and strongly, somewhat) the subjugation of any subject who
decides to participate in a choreographic system of command: "to stay
silent and submit";35 to go where the choreographer tells the dancer
to go, efficiently and without questioning (much) . In this submissive
silence of the followers, of those "who walk behind," we understand
how choreography and political leading may become theoretically
understood and may be actually practiced as unidirectional systems
of commands dictated by those who are leading at the head (the cho
reographer, the sovereign) . We can also understand the crucial link
between autocratic regimes and their predilection for performances of
choreographic discipline, from North Korean mass dances to fascist
parades.
33
34
35
must in turn display the admirable self or praise and index this display
as praise worthy, elicit praise. "46 The link between dance and the epi
deitic is nothing more than the unbearable personification of dance,
defining and orientating western theatrical dance from its beginnings
to a fetishization of the dancer's body and personality (his or her "cha
risma" or "aura") over the a-personal compositional plane of chore
ography and over a-personal elements in the actualization of dancing.
With the notion of leadingfollowing, what is being proposed is the
demise of this aesthetic-political continuum predicated on the praising
of the dancer's person; what is being proposed is a political-choreo
graphic process through which those who dance dare create something
that always exceeds predetermined acts and intentions. Leadingfollow
ing and yet never as a person understood as a formation for praise and
the enhanced display of praiseworthy "feats" -- but always as imma
nent force, invisibly composing a particularly unexpected dancing, a
particularly singular actualization of what really matters, rather than
the matter of regal exceptionality.
I am thankful to Xavier Le Roy to have reminded me that another
example in dance of an engaged actualization without a product, of par
ticipatory leadingfollowing making precarious planes of composition
filled with series of engaged negotiations and courageous initiatives
between several a-personal subjects is Contact Improvisation. In this
mode of dancing, where momentary collective assemblages of several
partners mingle to produce a result that is always more than the sum
of personal intentions, individual bodies, limbs and their trajectories,
leadingfollowing would name the mode of moving of a highly engaged
social collective - as much as it would accurately describe the collec
tive's mode of taking endless series of courageous initiatives. Indeed,
these series of initiatives, predicated on a hyper-engagement of all
senses, and hyper-acceleration of sensorial perceptions and redistribu
tions to the infinite speed of thought, produce Contact Improvisation's
kinetic actualizations. As Steve Paxton, one of the co-inventors of the
technique, once remarked: "we discovered that for every action several
equal opposite reactions are possible. Therein lies the opportunity for
improvisation. "47 In Contact, the opportunity for improvisation lies not
in the genius of an authorial self, nor in the genius of an aesthetically
participative yet collectively disengaged dancer. It lies in the forma
tion of an a-personal force field of actions and counter actions, emerg
ing and dissolving as ever-multiplying actions and counter actions.
46 Franko, Dancing Body, p. 22.
47 Steve Paxton in the film Fall After Newton (Video, Color and Black&White, 22
min and 45 secs, 1987).
36
37
Oliver Marchart
Dancing Politics
Political Reflections on Choreography, Dance and Protest
What is the lesson politics can draw from dance? In the following I will
not so much approach this question by focusing on dance as a genre of
fine arts. Of course, as an art form, dance has always been articulated
with politics: from the initial moments of ballet at the court of Louis
XIV, where it was an intrinsic element of what Habermas called the
representational public sphere of the court and a central element in
constructing the grandiose public persona of the sovereign, via New
York's Workers' Dance League with their intriguing slogan: Dance is a
weapon in the revolutionary class struggle, to the innumerable dance
events today driven by more or less radical political intentions. While
it would be fascinating to present a political history of dance, this is
not going to be my concern. For the start, I would like to approach
the question from the opposite angle, from the perspective of politics
and the role dance plays within political practices. In other words, this
chapter will not be so much concerned with whatever is political in
dance as a cultural or artistic genre, but with what might be dance-like
in political acting. What happens, we will ask, when today's sovereign,
the people, start dancing publicly for reasons of protest? Only after this
question has been clarified, I will return to two examples of "dancing
politically" that originated from the art field - "East Side Story" by
the Croatian artist Igor Grubic, and "How long is now?" by the Israeli
performance collective Public Movement.
38
39
40
41
42
world with Christianity. While she agrees that nobody would want to
spend his or her whole life in the "light of the public", a life spent in
what she calls the darkness of the private - a life without politics would be equally deficient. On the contrary, political acting gives a
particular quality to life. She therefore comes up with a claim that flies
in the face of our accustomed understanding of politics. As she says
in an interview about the student protesters of May 68, these students
have experienced what in true politics is always experienced: It turned
out for them that "acting is fun".4
Nothing, as I said, could be further away from our commonsensical
notion of today's politics, but if we consider the significant degree of
fun involved in contemporary forms of protest, and if we add Emma
Goldman's defense of frivolity and dance, then Arendt's claim starts
sounding less eccentric. Of course, for some reasons the category of
"fun" so far hasn't made it into political thought (which might be side
effect of our sense that theory or philosophy must not have anything to
do with fun either), nor is our habitual notion of the political equipped
to accommodate it. In a more elevated or sublimated sense this affect
was at least present in the demand for "public happiness" during the
American revolution, as Arendt reminds us, even though the public
character of it got lost in the course of the revolution and the demand
for public happiness degenerated into the pursuit of individual happi
ness. Yet it is the publicness of happiness which every human being,
according to Arendt, should have experienced at least once in his or
her life. But what exactly is the source of such happiness, or how do
we have to understand what for Arendt constitutes the public character
of acting? At least three criteria can be discerned.
First, happiness emerges from the fact that we can only act together,
that there is a certain communality involved in all political acting; a
communality, though, which at the same time retains the plurality of
the political world. This is very close to what Jean-Luc Nancy calls
social being, or "being-with", as "being singular plural".5
Second, the affect of public happiness is compared by Arendt to
the happiness with which we greet the new-born. Hence, at the root
of happiness lies the existential condition of natality. Yet we should
be careful not to interpret this condition in a biological sense: What
Arendt refers to with the notion of natality is something more abstract
43
44
45
46
Political Difference and Its Consequences", South Atlantic Quarterly 110, Fall 2011
(4):, pp. 965-973.
12 This is, by the way what happened to Friedrich Nietzsche, the philosopher of
dance if there ever was one, when his mind glided into darkness: it is reported that
his landlady, concerned about Nietzsche turning mad, glanced through the door in
his room where she saw Nietzsche dancing naked.
13 Ernesto Laclau and Chantal Mouffe: Hegemony and Socialist Strategy (London
and New York: Verso, 1985) .
47
48
14 One may just think, as examples, of the masculinist militancy of bodies formed
into the choreography of a uniformed "black block"; or, on the other end of the
scale, of the joyous frivolity of bodies choreographed into a partying Pink and Silver
block.
49
so
51
52
53
Fig. 2: Public Movement. Also Thus! Photo: Festival of Dialogue of Four Cultures
Lodz (2008).
S4
Most of the criteria developed above are thus met. How long is now? is
a collective and collectivizable action by which a public in the strong
sense is curved out of urban space. This is achieved through blocking
the circulation of traffic with dancing bodies. And yet, the passage to
politics in the strict sense does not occur. Without doubt, the irritation
produced by the event has the potential to remind passers-by of the
micropolitical inscription of state choreographies in their own individ
ual bodies. Such re-activation of bodily knowledge can have something
political, but more in a critical or analytical sense than in the sense of
protest politics. And to the extent that it remains an art performance,
the meaning and the goal of the intervention can very well remain in
the dark for most of its witnesses. In fact, Public Movement explicitly
say that they do not adhere to the "for/against paradigm" - and this is
exactly the point where we realize that a decisive element is missing:
an actual conflict that would force everyone to position herself on this
or the other side of a political antagonism.
In summer 2011 such an antagonism broke out in Israel when tents
were being planted in the centre of Tel Aviv and other cities. Starting
with the call of a single student, social protests against high living and
housing expenses grew to the point where Israel witnessed the lar est
political demonstration in its history. In the course of the protests,
Public Movement took up their intervention and offered this format
to the protesters. Again and again dozens of activists would assemble
on different crossroads in order to block traffic for 2 V2 minutes to the
music of Od lo ahavti dai.
In so doing, they actualized a conflict much wider than simply a
clash with angry car drivers. Such a momentary clash referred to the
wider line of political conflict drawn by the social protesters all over
Israel. By offering the demonstrators a new and easily collectivizable
SS
created within today's street protest. And if people joined in, then they
did because an essential dimension of political acting was addressed:
the joyous experience resulting from the virtuosity of the performance
as such. As Arendt said: "Acting is fun." In an interview with the Jeru
salem Post, a member of Public Movement declared: "We're going to do
some folk dancing, which, first of all, is really fun. And it creates some
automatic solidarity between people. Just standing in a circle, holding
hands, is the basic gesture of solidarity. "20 One should not underes
timate these moments of joy present in demonstrating in solidarity.
Today's forms of radical democratic protest could hardly do without
such joy - a joy that opposes the sad assumptions of a political reality
without alternative. It is in the dancing of the demonstrators that some
of the jouissance of embodied democratic action expresses itself.
Fig. 3: Public Movement. Tel Aviv-Jaffa, summer 2011 (during the social protest),
public movement members and the large public blocking the road with circle folk
dancing. Photo: Eyal Vexler.
56
57
Bojana Kunst
Working Out Contemporaneity
Dance and Post-Fordism
59
The body doesn't only move, but it also hesitates. With the walk it
takes, it doesn't only pass by or make a transit, but it lasts, it endures
in-between.
The same conclusion could be also drawn from the people dancing
in the dance school in Hamburg. There dancers are also stumbling,
they are slow and precarious, they hesitate a lot; however, with each
step, they leave less and less visible imprints of their hesitation on
their bodies. These dancers are internalizing the relational component
of the movement in a precise way, because only thus does it become
possible to make their movement continuous and smooth. If they want
to enjoy dancing smoothly, they have to rehearse and train in order to
2 Ibid., p. 48.
3 Laurie Anderson, Big Science, Warner Bross Records, 1982.
60
61
62
63
ity. It does not only imply moving territorially, but also being on the
move between many projects, flexible jobs, and moving between many
when they move that people can actually become visible in the pres
deeply to the body that the body of the worker is foreign to the one
who works with it. Only when the movement is radically interiorized
own backside exactly in the same work community that enables con
does the body became foreign, the other body which can be put in
the service of the state or the factory. Here we don't deal with the
alienation of the movement from the body, but with the radical interi
orization of the movement in the body, so that the body has become a
thing in our daily rhythm and in the way we experience this sharing of
language and thought, which puts us into a state of constant mobility
ity. So, isn't the exploitation of the human capability to move one of
Chaplin did in
destroyed the whole production process because they were too dreamy
to be efficient, too clumsy to work well, which actually also means that
the body: they were being moved by the world. However, there is a
tion in the first half of the 20th century and the role of movement in
its own phantasm: enjoyment was radically expelled from the body.
That's why at the beginning of the 20th century modern dance pioneers
were re-evaluating the dynamic between the outside and inside of the
body. They were searching for another kind of enjoyment that was
movement in the body. Only in that way could the gesture of the body
itself from under the institutional and disciplinary grip. However, these
attempts took place outside the factory. The modern dancers at the
64
time were searching for the freedom in the body that belongs more
to leisure than to work. That has several consequences which will be
only briefly mentioned here. First the enjoyment of working bodies
was reproduced in another form of capitalistic work, i.e. entertain
ment and spectacle; for example with the dancing bodies of the Tiller
65
tion of the bodies which are dancing the same dance or dancing in
the healthy and powerful mover can be part of the naturalised masses
the same way, yet, always alone, private, but nevertheless connected
part of the relation between inside and outside of the body, especially
have the right parameters like 'find people dancing on the song of Sha
kira', 'find people turning their head around in the living room' etc.) .
could abstract its own body into the autonomous aesthetic field. In this
abstraction which can then be also connected to the fact, that in the
the freedom of time without work, i.e. the discovery of the potentiality
Exploitation of movement
Mass Ornament in
with the world. This is not only speeding up and erasing the 'onto
which she reflected the role of mass ornament today . 10 In the beginning
about a radical incongruity among the movable ones and the ones who
could effectively produce. At the same time this form also disclosed an
ity, then this also implies that change or alteration today is radically
enjoyment beside (or, perhaps, despite of) the system (coming, how
abstracted from the materiality of the world and of the body. Change
ever, from entertainment, not from the workers) . So, what could be the
66
1 1 Brian Massumi, 'The Future Birth of the Affective Fact', Conference Proceedings:
Genealogies of Biopolitics, http://browse.reticular.info/text/collected/massumi.pdf,
Access: 5 December 2011.
67
tion when you ' move with the world'. The result is the typical form
as Franco Birardi Bifo writes: cognitarians still have to search for the
ation, where old forms of life become obsolete even before we are able
the movement of the many. In that sense the emphasis is not so much
control society. The potential for change is transferred into the spectral
rial for this kind of social choreography belongs to that which the
through openings and closing which are today heavily controlled and
to m ove with the world. These are not skills people learn at the workplace.
that we only move because of our inner feeling of time. This illu
To move with the world (and with this movement attaining skills,
works) here describes specific skills that are, of course, connected with
cognitive work. However, to move with the world can also be under
to the broader social and political reality. In this sense it has to bring
together two politics of dance of the 20th century which were intention
and a walk. Subversive enjoyment comes from the distance that the
68
69
70
1 Alfred North Whitehead, Modes of T/wught (New York: Free Press, 1938), p. 9
2 Quoted in Jean Kearns Miller, Women From Another Planet (Bloomington: 1st
Books, 2003), pp. 23-89. While we focus here on autists who would be classified
in the so-called low-functioning spectrum of autism, which is itself a spectrum, we
chose to highlight autists such as Krumins (and later Corwin), both of whom would
likely fall into the category of "aspergers" or "high-functioning" autism. The point
we are trying to emphasize is that all spectrums are neurodiverse - both that of
the neuro-typical and that of the autist - and that within the autism spectrum there
stands out a particular modality of perception. As others within the autism activist
community have pointed out, the labellings that have become commonplace in
autism in many cases only serve to re-sedimentize the assumptions of the neurotypi
cal (or able-ist) community. See, for instance, Amanda Baggs's blog post entitled
Aspie Supremacy Can Kill: "I know that to many aspie supremacists it doesn't feel
like that's what they're doing. It feels like they are j ust stating common sense, that
aspies have more valuable skills, more logic, less dysfunction, whatever, than other
autistics. But that's because having a bit of relative privilege renders them unaware
of the full consequences of their actions. They don't realize that they have things
backwards - the more devalued you are, the more you need equality, the more you
need to be considered another important part of humari diversity, etc. Not the less.
And ' less' is what aspie supremacy ends up meaning to those of us who (even when
we have some very valued skills in a few areas) are more vulnerable to devaluation
and all of it's effects. Including the lethal ones." - http://ballastexistenz.autistics.
org/?p = 611, Access: 3.7. 2010.
73
For autism researcher Simon Baron-Cohen, to hear the rocks and the
(Mukhopadhyay)
A dance of attention is the holding pattern of an immersive, almost
unidentifiable set of forces that modulate the event in the immediate
ness of its coming to expression. Attention not to, but with and toward,
in and around. Undecomposably.
Yet from the autist, we hear neither a rejection of the human, nor
a turning away from relation. What we hear is an engagement with
the more-than-human: "I attend to everything the same way with no
discrimination, so that the caw of the crow in the tree is as clear and
important as the voice of the person I'm walking with. " (Krumins) And
an engagment with a more textured relating: "My world is organized
around textures. [ . . . ] All emotions, perceptions, my whole world [ . . . ]
"All the time shadows had to borrow the colors of the objects on which
they would fall, " writes autist and poet Tito Mukhopadhyay. "And they
colored all objects in one universal color. That color is the color of a
shadow, which is a darker color on the borrowed color. "10 A coloured
shadowing: an intertwining of fields of emergent experience not yet
defined as this
already interact. The fields, in their immediacy, play off each other,
The emergence continues. "I could now imagine how a shadow could
74
75
the night j asmines wet with morning dew, lit with fresh sunshine, try
ing to form a story with their jasmine-petal smell. I would see the story
spread in the air. "11 A new quality, a fragrance, arrives in the hiatus. A
flowering dances to attention as the event of this ingression. Jasmine
gathers the play of colour and shadow around itself, transmuted into
an interplay of moisture and light. Light and moisture, in co-motion
with a smell. The fragrance of j asmine, in its interplay with moisture
and light, takes the relay from coloured shadow as the predominant
quality of the compositional field as a whole. This relay brings the
field to the verge of determinate expression. In the field's perfusion
by smell, a story is trying to form. The field is moving through its
perfusion toward a recounting of itself. It is striving to be taken into
account.12 The flower has appeared as a function of this striving. It is
not a discrete object. The field of immediate experience is not com11 Mukhopadyay, How Can I Talk, p. 21 f.
12 The concept of taking account is from Whitehead. It is one of the concepts
through which he extends a perceptual mode of operation (prehension) to all things,
independent of human perception. The notion of "taking account" indicates that
things (of whatever nature - he mentions "mud " and "evil") "are essentially refer
ent beyond themselves. " By referent he means co-implicated in a process of mutual
becoming exemplifying "forms of process," understood as modes of existence which
call upon each other "essentially," as an expression of their own nature. Each kind
of thing must be conceived as a form of process. The "realm of forms," Whitehead
writes, is not an empty realm of pure abstraction, devoid of dirt and passage. It "is
the realm of potentiality, and the very notion of 'potentiality' has an external mean
ing. It refers to life and motion. It refers to inclusion and exclusion. ( . . . ] Phrasing
this statement more generally - it refers to appetition. It refers to the development
of actuality, which realizes form and is yet more than form ... To be real is not to
be self-sustaining. [. . . ] Modes of reality require each other ... [they] express their
mutual relevance to each other. [. . . ] each type expressing some mode of composi
tion." - Whitehead, Modes of Thought, p. 94 ff. When we refer to the flower striving
to be taken account of (or, later in this essay, the pen "asking" to be chosen from
the field), we are referring to Whitehead's theory of the "essential reference" of each
thing to others beyond themselves, as exhibiting an activity of appetition that is in
and of things (defined in terms of processual potential). This striving for expres
sion of things as such is in no way meant to be taken as a metaphor. Although this
striving is independent of human perception, it is soliciting of human perception
wherever human perception is active in the field. What distinguishes this approach
from recent object-oriented approaches is it gives primacy to activity and potential,
deriving the status of the "object" from a playing out of the "forms of process"
through which they tend toward determinate expression. The object, for Whitehead,
marks a phase-shift in process. It is understood more as an ontogenetic role than an
ontological category. For Whitehead, object refers to a particular role in the coming
to determinate expression of potential, occurring at a particular turning-point in its
playing out. For prehension as an uncognitive taking account, see A. N. Whitehead,
Science and the Modem World (New York: Free Press, 1925), p. 69 f.
76
ness: where does the body begin and end? Where is the relay between
imagination and experience? The coming to further expression of the
field in conversation, for cross-checking, moves the center of gravity
of the experience into another field, that of language. But this is poetic
language, not strictly fact-seeking - a language for story, a language
that holds onto the tensile oscillation of imagining and experiencing,
that composes with the threshold of expressibility that was already
active in the field, tuning to expression where there is not yet either a
fully bloomed object nor a fully flowered subject - only the intensely
experiencing-imagining bud of a qualitative becoming toward making
sense in language.
to the environ
of the environment to its own flowering, at the
77
does not yet seek to distinguish between human and nonhuman, sub
ject and object, emphasizing instead an immediacy of mutual action,
an associated milieu of their emergent relation.
This co-compositional engagement with the associated milieu of emer
gent relation is an
mode
of existence intertwined tendentially with other modes of existence,
such as those, more human by the neurotypical definition, that are
centered on language. 1 5Autism activist Jim Sinclair writes :
Autism isn't something a person has, or a 'shell' that a person is trapped
inside. There's no normal child hidden behind the autism. Autism is a way
of being. It is pervasive; it colors every experience, every sensation, percep
tion, thought, emotion, and encounter, every aspect of existence. It is not
possible to separate the autism from the person - and if it were possible, the
person you'd have left would not be the same person you started with.16
Persons come in many modes. And persons become. Autistic percep
tion dances attention, affirming the interconnectedness of modes of
existence, foregrounding the relationality at the heart of perception,
emphasizing how experience unfolds through the matrix of qualitative
fields of overlap and emphasis already immediately moving toward
expression in a dynamic field of becoming alive with co-composition.
For autists, language comes late, and it is this that perhaps marks most
starkly their difference from neurotypicals. Neurotypical experience
an implicit recipe for finding the way back again to a specific "terminus" that can
be shared by different bodies, who may seal their sharing of this reaccess potential
with a demonstrative pointing-to acknowledged by both. See the development of
the example of the walk to Union Hall upon which the argument of "A World of
Pure Experience Revolves", Essays in Radical. Empiricism (Lincoln: University of
Nebraska Press, 1996). See also the "The Thing and Its Relations " in the same
volume, and Pragmatism and The Meaning of Truth (Cambridge, MA: Harvard
University Press, 1978).
15 It is important to specify that there is no homogeneity of autism. We do not want
to suggest that all autists are joined in their perspective on the condition - certainly
being autistic is a significant challenge in the multi-sensorial, fast-paced culture we
find in most parts of the world today. The point we wish to make is that autism is
also a gift - perceptually, experientially, intellectually. The challenge for those all
along the spectrum of neurodiversity - especially those toward the neurotypical end
of the spectrum - is to meet difference at least halfway.
16 Jim Sinclair, "Don't Mourn for Us", Our Voice (Autism Network International
Newsletter) , vol. 1, no. 3 (1993) .
78
more and less: more peripheralized, less often attended to in its own
right. Conversely, even most so-called low-functioning autists are not
without language, as the quotes in the previous section show, even
though many are without spoken language. "Not being able to speak
is not the same as not having anything to say, " reads one of the slo
gans of the Autistic Liberation Front. 18 Despite their initial focus on
the qualitative relationality of emergent environments, autists are also
capable, more and less depending on many factors, of perceiving
objec
tively. By objectively we mean in a mode in which focalized impacts,
and their eventual uses and recountings in language, single themselves
out as particular affordances from the fielding of the environment. We
call this the mode of
entrainment.19
17 Alfred North Whitehead, Modes of Tlwught (New York: Free Press, 1968/1938) ,
p. 7
18 Slogan from a t-shirt created by the Autistic Liberation Front, in "It's Not a Disease,
It's a Way of Life, " Emine Saner, http://www.guardian.co.uk, Access: 8.7.2007.
19 The term "entrainment" is adapted from Albert Michotte, who uses it in his
analysis of the direct perception of causal relation. See Georges Thines, Alan Costall,
George Butterworth, eds., Experimental. Phenomenology of Perception (Hillsdale, NJ:
Lawrence Erlbaum, 1991). We also mean it as a reference to Whitehead's own
concept for the direct perception of causal relation, which he terms "causal effi
cacy." Causal efficacy refers to the sense that experience is "heavy with the contact
of things gone by [referring to the immediate past, on the order of fractions of
a second], which lay their grip on our immediate selves." In its purest form, it
is "vague, haunting, unmanageable." In our reading, this sense of "unseen effec
tive presences in the dark" is a limit case, because causal efficacy as a mode of
79
f"
he flower itself than of the field of flowering and shadowing and story-
1g, doe not suggest that he cannot also smell the flower or eventually
.
d1fferent1ate 1t from other affordances. What it suggests is that there is
Souriau: " existence can be found not only in beings, but between
singular events where objects are in the making. The modality of the
constituted being that has the modality. The modality makes the being.
Modes of existence are not only intermodal, they are also plural in
inbred appetite for each other, and cannot easily sustain themselves
existence, under the term neurodiversity.22 They are not only signal-
n? towar expression in use-value - rather than entertaining express_ on its own account. For the autist the flower and environment
1b1hty
21 Etienne Souriau, Les differents modes d'existence, ed. Isabelle Stengers and
Bruno Latour [Paris: PUF, 2009) , p. 16.
22 What autists do is emphasize, in their very approach to life, how the world
deemed neurotypical. It bears repeating that the autists we are thinking-with here Tito Mukhopadhyay, DJ Savarese, Amanda Baggs, Jim Sinclair, Larry Bissonnette,
Sue Rubin, Jamie Burke - are classified as "low-functioning," which means that
they suffer from complex motor problems including the inability to speak and seri
ous issues with the activation or initiation of tasks, anxiety, echolalia, etc. They
can rarely live completely without assistance. And yet their writing astounds in its
efficcy and presentational immediacy are in all but extreme cases present in
complexity, in its rhythm and tonal qualities, in its political astuteness. As Ralph
Savarese, poet and father of DJ Savarese, notes, "While acknowledging the many
each other. Their fusion yields a variety of mixed modes, one of which is what we
normally think of as object perception. We are asserting here that there is another
autism should not be pathologized and 'corrected' but, rather, celebrated as a kind
mode that we are calling environmental. Whitehead himself focuses on the mode of
of natural, human difference. The condition affords, especially at the so-called 'low
presentational immediacy in its purest form, where it is separated out from causal
functioning' end of the spectrum, with those who have been taught to read and to
efficacy to the greatest degree. This occurs when qualities of objects appear as
communicate, a range of gifts. One of these gifts is poetic perception and writing. For
abstractable from them (as "sense-data"). The differences are of emphasis in the
decades it has been assumed that Autistics are the victims of an obdurate literality,
which leaves them baffled by figurative language. While this may be the case with
recently have some of these Autistics been exposed to creative writing instruction,
and the results have been nothing short of spectacular." Ralph Savarese, prospectus
for
above).
80
81
ling the need to attend to the blooming of fields of relation from which
neither pre-defined objects nor overshadowing subjects have yet to be
singled out, they are alerting us as well to the intricacies of percep
tion across the spectrum. For neurotypicals are in fact neurodiverse,
also immediately perceiving relation. The differenc e is the speed of
subtraction of objects from the total fiel d, owing to the field's pre-per
fusion with entrainment. Under c ertain circumstanc es, neurotypicals
themselves experience a predominance of environmental awareness.
It is rarely focused on, though, appearing as an ephemeral interlude
between more substantial-feeling affordances. When environmental
awareness does resurface, it is without fully-bloomed objects and
overshadowing subjects, as autists describe. But there is still a degree
of differenc e between this and other modes of existence on the wider
spectrum of neurodiversity. Because entrainment reigns as an imme
diate tendency in neurotypicals, even when they are immersed in a
self-entertaining relational fiel d, affordances already agitate, but are
not yet objectified. For the neurotypical standing in a grassy farmer's
fiel d painting a fl ower, the fl owering of experience may immediately
present itself for artistic rendering, as it does for autists. But there will
likely al so be an equally immediate sense of how the flower stands in
relation to grass and trees, incl uding a tacit cartography of how to get
from road to fiel d to fl ower and back, and what that trajectory might
afford. This efficacious orienting occurs directly as a fiel d-effect, on the
l evel of the objectile, not on the level of constituted objects as such.
ity
You're l ate, you're hurrying from the subway to the office on a crowded
rush-hour sidewalk. Bodies all around, thicker and thinner, faster and
slower, in a complex ebb and flow. In the ebb and fl ow, temporary
openings come and go. Your perception is focused on the coming and
going of the openings, which correspond to no
viduals listed above, focusing on their art and poetry even while exploring in a very
nuanced manner the challenges so-called "low-functioning" autists face. See his
forthcoming book as well as Reasonable People: A Memoir of Autism and Adoption.
On the Meaning of Family and the Politics of Neurological Difference (New York:
Other Press,
It was the fleeting openings, now forgotten. The openings are long gone.
Disability
82
affordances - the computer for emailing, the phone for message check
ing, the chair for sitting - objects will be in focus again. But in the mode
no.
1 (2010), http://www.dsq-sds.org/issue/view/43.
83
for the ephemerality of the openings. This is how what we single out
into a field of movement, their stability entering into that field on equal
the story:
I was wondering why the hell that 4 had to interact with the number 2,
through a
coordinate axes of the plane surface and the probable coordinate points
sign.
[. . . ] I
cals lends the fi eld more "naturally" to the kind of cross-checking that
side of the page, I mentally assigned it with the coordinate points of 3 and
7. Three as the
with memory, and with the retellings memory makes possible, that
objects will stand out clearly, sagely observing the boundary between
quick value to the addition sign also. Then I found a whole story of number
experienc e and imagining. In the moment, they are fused with field
gave a
took the average on the x side and the average on the y side to bring peace
among the numbers.23
colour, shadow, and smell were in active interplay in the sunlit field,
chair in your office does not preclude the chair becoming an affor
dance for sleep . The mode of existenc e has to do with the emergent
minate expression.
entrainment. This is a " deficiency" only in the sense that the summing
up of the field - the subtraction, from the fullness of its complexity, of
a particular product that stands out from it - takes more time because
cannot sit still as they are told how and what to l earn? Where is that joy
the immediate field of experience does not come already oriented for
to the most "reasonable" outcome, the one most easily cross-chec kable
disorder rings alarm bells. Might not the diagnoses betray an inatten
event much richer than it, is rarely acknowledged. The event is too
84
85
..
arely perceived
tial register of the event, voice vying to background refl ecti? n, refle
for the rest of the day. "24 The equation, it turns out, is much more than
t:-Vo numbers, a plus sign and
an
field that modul ates experience, that entertains, that busies the body
and absorbs attention, that creates a panoply of sense. Mathematics is
intrinsically related to the experience of the day's unfol ding, to how
the world girates with potential, to how time itself works. It is not a
discrete tool or task. It is a procedure integrally entering into the
self
enjoyment - to use a term from Whitehead - of the environmental
field.
the activity of the field, alive with competing tendencies to sort itself
out. The focus is less on what might typically be assumed to be the
voice so that it could say aloud, 'Here I am! Here I am'."2 6 The cry of
ntrains
ity of the moment in gyration. "Moments could get out of control , "
Mukhopadhyay writes,
when they became unpredictable and too large for my senses to accumulate
all that they involved within their field. One moment, you may look at a pic
ture, and at the same time you are aware of the pink wall around the picture,
you are also aware of Jack's voice explaining something about the picture.
The very next moment you are looking at the reflection through its glass
frame, which is competing for attention while you are looking at the picture.
You may see a part of the room reflected in the glass, and you may be so
absorbed in the reflection that you may not hear anything from Jack's voice
because you suddenly discover that those reflections are conspiring to tell
5
you a story. Jack's voice may float in that story as big or small bubbles.2
25 Mukhopadhyay,
86
[ .]
. .
26 Ibid.
87
going with the movements of my eyes, altering with what I call my fancy,
continuous with subsequent experiences of its 'having been' (in the past
tense), it is the percept of a pen in my mind. Those peculiarities are what
we mean by being 'conscious' in a pen. 27
or that) . In this
than distinctly taking the fore. "And within the same moment,"
Mukhopdhyay continues,
there may be a sudden sound of laughter that can dissolve the stories told by
the reflections and the sullen silence of the chair's shadow with its demand
ing noise, making you wonder which part of the funny story from Jack's
voice you missed listening to while you were watching the giant blades of
the fan pushing out every story and sound away from it with air. 28
say, is already cognizable, but not yet finally cognized. It is as yet but
a cognizable f actor in field experience. When the moment has penned
itself into a determinate emergence, consciousness begins to flicker. It
is holding pen and its use-value distinctly in the foreground, in a now
object-centered entertainment. Now, entertainment is of the object
pen, not of the full field. The field is no l onger saturated with entrain
ment, but is heavy with it, locally. The singled-out object pen bears
all the weight of it. Fiel d-wide entertainment, its integral relational ity,
has been backgrounded. But the foreground only stands out because it
has a background to stand out from. Background and foreground are
in mutual embrace, the backgrounded activity still vying for attention.
Consciousness flickers with the tension between backgrounded envi
ronmental awareness and foregrounded cognition. Cognition is the
Variations
Experience's variety does not preclude the efficacy of use; it includes
it differently. Take Mukhopadhyay's experience of the door. He writes:
"The colour comes and then the shape and then the size, the whole
thing needs time to get integrated. To be described as a door, there is
position, the open or closed. "30 When Mukhopadhyay sees the "door"
he does not immediately see a threshold for passage, as a neurotypi
cal person might. He sees qualities in a texture of integral experience.
Colour fields first, and from that interplay shape asserts itself. Here
I am! Then with shape comes size. This relay of emergence is now
88
89
90
coming from the field of memory, is the coming alive of the field of
experiential immediacy, in its emergent dance of attention.32
Chunking
Amanda Baggs quoting Anne Corwin explains how entering a room is
different for an autist:
I would probably walk into the room and see 'check patterns' before even
being able to identify the door as a door and the tablecloth as a tablecloth!
[... ] The process of 'resolving patterns and shapes and forms into familiar
[... ] I often tend to sit
91
the kitchen, for instance - the causal efficacy of chairness will shift
automatically to laddering, upsetting any notion that entrainment is
unvarying. What is unvarying about entrainment is that it is always
emphasis-by-subtraction. In yet another context, say creating an art
installation in the kitchen, the affordances of entertainment get bac
grounded. Entertainment takes over, now with a richly textured rela
tional emphasis co-involving field-effects of colour, light and surface,
pattern and contrast, the whole characterized by an overall field qual
ity of airiness or crampiness, convivial freshness or the staleness of
familial constriction. The field of immediacy reappears for itself, in its
own qualitative-relational terms. It will sort out one way or another,
but in the moment there always will have been much more.
The "much more, always more" of Corwin's entering a room suggests
that the challenge for autism lies with the less of subtraction. The
room is immediately experienced in its always-more, each chunking
an achievement, a new adventure in experience coming alive toward
expression. "I taught myself to read at three," Amanda Baggs relates,
and I had to learn it again at ten, and yet again at seventeen, and at twenty
one, and at twenty-six. The words that it took me twelve years to find have
been lost again, and regained, and lost, and still have not come all the way
back to where I can be reasonably confident they'll be there when r need
them. It wasn't enough to figure out just once how to keep track of my eyes
and ears and hands and feet all at the same time; I've Jost track of them and
had to find them over and over again.34
Against Neuroreductionism
The neuro is everywhere in the air today. Neuroarchitecture, neuroaes
thetics, neurocriticism. We have advanced the term neurodiversity here
in order to problematize the "neuro" no less than the "typical." Certain
of today's neurocurrents, those informed by embodied cognition and its
younger offspring enactive perception, converge in some respects with
the account developed here. We are uneasy, however, with the general
excitement generated by recent advances in brain imaging technology,
which have been met with another wave of the cyclic craze for finding
neural correlates of experiential events. The models, admittedly, are
vastly more complex than earlier paradigms of localization, nuanced
34
92
From the perspective developed here, the notion of neural correlates the idea that experiential events "correspond" to brain states - errs in
presupposing the dichotomy between the determinately physical and
the fickely perceptual. In our account, following James and Whitehead,
this distinction takes form on the highly derived level of reflective con
sciousness, which is itself predicated on the subtractive emergence of
cognition from a richer and more encompassing field of coming experi
ence. The search for neural correlates glosses over the immediacy of the
field of experience, its phased becomings and variations, its flickerings,
its constant reminders that the simplicity of clear consciousness is no
measure of the complexity of complete experience. The search for neural
correlates glosses over this intensity and complexity in theory, while in
practice it constantly returns to it without acknowledging that move.
The surreptitious appeal by neuroscientists to the total field is a
practical necessity because a correlation between an experiential event
and a brain-state cannot be established without eliciting an experi
ential event from which a brain image can be extracted. Subjects are
shown particular images, or inducted into certain kinds of activity, or
induced into certain affective orientations. A mapping of brain activ
ity is then extracted from the event by the imaging technology. The
predominant experiential characteristics of the context from which the
93
value - to the extent that the neural factors set enabling conditions
for the playing out of the event. Our point is that the activity of neu
rons enter the event on an equal footing with other ingredients to it:
from the angle of their ability to co-compose relational field-effects .
Alone, they are nothing. Together with other ingredients, which are of
activity. Elements of what is eliminated from the central focal region of consciousness
persist vaguely in the surrounding "penumbra!" region forming the periphery or back
ground from which clear consciousness stands out. The penumbra of consciousness
is semi-conscious. This semi-conscious surround of consciousness makes conscious
ness, however focused, however eliminative, a variegated field phenomenon. It is the
fielding of consciousness that comes out for itself, as a mode of experience in its own
right, in what we call "environmental awareness." Environmental awareness is full
35 Our use in this section of "physical pole" and "perceptual pole" should not
Henri Bergson, Matter and Memory, transl. Nancy Margaret Paul and W. Scott Palmer
(London: Allen and Unwin, 1911), chapter 1. On elimination, see Whitehead, Process
reflective consciousness.
94
95
Ulas Aktas
:Vhile
te in the w ?rld.
ecological ques
polemically makes this point in terms of "freedom, " playing the con
and Hans P eter Weber's concisely clarifying insights into the mode
The great United States of America is breathtakingly not free. Equality is not
as sacred because not everyone has access to it. Freedom is not as available
as many people think. First, free people treat my people, very smart people
who type to communicate, as mindless. Second, they underestimate us as
very bad instead of reaching out to us. The creators of everyone's very
':"hat we
1 The concept of a cultural immune system is related to Gilles Deleuze's and Felix
Guattari's concept of a body without organs. Deleuze/Guattari: "It is a question of
making a body without organs upon which intensities pass, self and other - not
in the name of a higher level of generality or a broader extension, but by virtue of
singularities that can no longer be said to be personal, and intensities that can no
longer be said to be extensive." - Gilles Deleuze, Felix Guattari, A Thousand Pla
2 See Paul Virilio, Rasender Stillstand (Miinchen: Hanser, 1992) and his Revolutionen
3 Clearly, this tableau will form the background to a considerable reform in the field
of dance.
96
97
state no longer formulates the new civilising forces. Rather, these are
created by a tuning of forces on every organic and organisational level .
The state is merely expected to join and lend its legitimising support to
these forces, which have established themselves gl obally in the radical
research and recovery industries .4 State policies no longer act but only
assist, and often enough not even that - the new forces establish them
selves b eyond the classic forces, the new forces exerting control over
the old. Showing no preference for the
question
Deleuze refers
to a transformation
site at which to exert their influence, they are unlimited and impinge
on everything that is physically attainable, following the slogan: Brains
of a
retrograde
evolution. What was not yet visible to him, what he did not or could not
yet write about in the 1980s, is the question of where this change might
occur within the civilisational sphere. Concerning the transformation of
the human form and the social form in this final stage of the
retrograde
evolution he considers only the incremental form which results from
the final dis-covery of the noietic physique: the superman form. The
analysis of the cultural conditions which are also transformed under
the pressure of post-historical impulses, intertwining relations such
as human diversification8, civil war, population growth towards the
remember, conceive, wish, and so on. One might object that such forces already
presuppose man; but in terms of form this is not true. The forces within man pre
suppose only places, points of industry, a region of the existent. In the same way,
forces within an animal (mobility, irritability, and so on) do not presuppose any
determined form. One needs to know with what other forces the forces within man
enter a relation, in a given historical formation and what form is created as a result
from this compound of forces." - Gilles Deleuze,
4 Hans Peter Weber on the term third nature: "That which is called the third nature
is therefore a) not a third (but rather an unlimited extension of radicalised and
applied knowledge concerning conditioning and upgrading, pure scientism) nor is
it b) nature (but rather the ultimate civilisational project, 'mendeling' itself into the
programme of generic programming at every level." - Hans Peter Weber,
Essays 3
98
(London: Vintage,
Foucault
(Minneapolis: University
1988). p. 124.
7 Deleuze, Foucault, p. 124.
8 Human diversification can, according to Hans Peter Weber, be seen as the
of Minnesota Press,
9 I subscribe in particular to the objections of Hans Peter Weber, namely that under
the Superman-form
machines
service
industry and
99
The tectonic shift of the human, civilisational and cultural axis per
meates and radically transforms the inner fabric of human and social
forms. This is what I call the second age of axes . 10 This situation is
process of the constitution of the "sel f " within the context of its under
lying historical formations of power . The constitution of the self can
accordingly neither be understood completely through psychological
nor through sociological analyses. Foucault uncovers a force field in
which different forces are in effect. As examples for these forces he
cites, among others, administrative and organisational forces as well
personal forces: the force to imagine or to will. In the f ield of personal
forces he also sees counterforces at work. These forces cannot be situ
ated unilaterally, neither within a person nor within society. They act
automorphously, i.e. they only organise themselves within the tension
field of the intrinsic organisation of the mind and the autonomous
sphere of contact.
The intrinsic structuring of the mind and the sphere of contact act
upon each other alternately and the forces that operate within them
are not only similarly differentiated, they are also present in a similarly
process some forces and potentials are f avoured, in other words a drift
sets in, commonly known as
civilisational evolution.
2. Cultural sense
Where and how are the screening forces generated? As is known, not
only felicitous forces act within the mental structures of human exis
tence. These structures are actually prone to crisis and firmly connected
to notorious stress factors. The screening forces occur retroactively
and in opposition to these stress forces. There is a "cultural sense"
as defined by Hans Peter Weber: a sense similar to the sense of hear
KreaturDenken
2006), p. 523.
10 Karl Jaspers coined the term the age of axes to describe the period from 800
to 200 BC, during this period "the spiritual foundations of humanity were laid
simultaneously and independently in China, India, Persia, Judea, and Greece. And
these are the foundations upon which humanity still subsists today." Karl Jaspers
(2003). The Way to Wisdom: An Introduction to Philosophy (New Haven, CT: Yale
98
University Press). p.
100
101
ing forces act in opposition to the growth of cognitive fitness. But both
are to be understood as a reaction to the deficiency within the mental
state, which is a constitutive lack of (existential) integrity.
which is thrown back upon itself. This being thrown back upon one
(Heidegger) .13 This consciousness is also the price we pay for the self
reflective abilities of cognition and is also connected to an extr emely
frightening consciousness. The horror of being conscious of death
needs no further explanation.
3 . The third cause I would like to refer to here is "the shame of being
human" (Deleuze) 14 This shame does not refer here to the human
form but rather to the knowledge of the pitiful state of one's own men
Siegmund,
Abesenheu - Eme perfonnative Asthetik des
Tanzes. William Forsythe, Jerome Bel,
Xavier Le Roy, Meg Stuart " (Bielefeld: transc
ript
Verlag, 2006).
13 Martin Heidegger, Being and Time, trans.
by Joan Stambaugh, revised by Dennis
J. Schmidt (Albany: State University of New
York Press, 2010).
14 Gilles Deleuze, Unterhandlungen (Frank
furt: Suhrkamp, 1993), pp. 243-253.
15 Elias Canetti, Die Fliegenpein, Aufze
ichnungen (Frankfurt: Suhrkamp, 1995),
p. 81. Cannetti writes about the Austra
lian Arandi term Eraritjaritjaka which
expresses precisely this longing. Heiner
Goebbels, among others, made this term
the basis of a musical drama in 2004.
16 Bazon Brock, in reference to Jean-Luc
Godard, discusses the avant-garde's arriere
102
present with future pasts. Pasts are to be conceived as former futures and the
present regarded as tomorrow's past. The future would then be an imaginative
space in which the interplay of time forms is set in motion imaginatively, that is with
the goal of creating as many options as possible. Bazon Brock, Lustmarsch durchs
Theoriegeliinde (KO!n: Dumont, 2008). Translation mine.
17 Peter Sloterdijk, Weltinnenraum des Kapitals (Frankfurt: Sullrkamp, 2001),
p. 94.
18 See Peter Sloterdijk, Spharen IL Globen (Frankfurt: Suhrkamp, 1999).
19 Sloterdijk, Weltinnenraum, p. 94.
103
forms are split up once again. The opera and the theatre continue to
exist but after two world wars society has changed. Television appears
with its own formats, such as talk shows, soap-operas etc., taking the
place of much of what the opera once stood for. Later phenomena
which I - rather idealistically - choose to call
society as being both radical and abstract and are not easily accessible
to the majority: Schonberg, Webern, Cage, Cunningham, Beckett,
Giacometti, Beuys etc.
The radicalisation of the process of civilisation is a challenge to art,
even an overwhelming one. High-modernist art, with its claims to
understanding and expressing the world, p ositioned within a world
that has become highly complex, is challenged by itself.
How is one to dance against Auschwitz or Hiroshima?
after modernism - and I think the date 1 945 would serve very well
as a point of reference - had to and must now relinquish its own
irresolvable compl exity and retreat. It becomes in a sense truly radical
but it would be more accurate to say it becomes nuclear, focussing
function, its
worldliness
and
becomes
nuclear.
absolute art, that which can be found over and over again, from
.
.
Gratification through art is familiar to us. The testimomes of the
arts still posess a residual actuality for us and are still perceived as
small refuges within society. There are still people who sense that
there is something in the arts, that, in exposing oneself to works of
art reactivates something within themselves. And these people want
to
b e reactivated
on the
;-
104
105
has already overstepped the biotic level and has attained the neuro
sensationary level. "23 The public is still unaware that civilisation is
engaged in. self-breeding selection.
develop: the desire to create mental and cultural integrity. And that is
what I would like to call cultural immune systems, this neuromental
constittional force. The current transformation in the epochal force
quality of existence
(seeming) .
Subject and world are not separated from one another, which makes
not simply take the form of indifference. It is not indiff erent, counter
to what has been repeated over and over again in philosophy. It is the
site of the cultural. There really is something ther e !
Differences exist a s qualities of existence. Qualities d o n o t express
An aesthetics of existence
between the cultural and the civilisational. I did this in order to describe
the quality of existence in the present. I believe that existence always
has a quality. Before it becomes objective or subjective, existence is
intensity. 24 The world is approached foremost in a qualitative fashion.
n fact: access to the :vorld is not even access. There is only quality or
23 See Hans Peter Weber, Vom KreaturDenken (Berlin: sine causa Verlag, 2006).
24 I woul also subs ribe to the connection between the body without organs
.
and intensity as described by Deleuze/Guattari in A Thousand Plateaus: "That is
why ':e r:eat the BwO as the full egg before the extension of the organism and the
orgasation of the organs [ . . . ] ; as the intense egg defined by axes and vectors, by
gradients and thresholds, by dynamic tendencies involving energy transformation."
Deleuze, Guattari, 1987, p. 153.
1 06
differ
entiation and nothing else as if there were nothing but communication
and nothing behind it.
Why do I insist on this differentiation? It is quite simple. There is no
107
Petra Sabisch
Choreographing Participatory Relations
Contamination and Articulation
to etch and writing. To dance is to write into space, spatial etching, the drawing
and textualisation of space - not in letters but in the ephemeral, invisible traces
and figures that are produced by the dancers' motion - appearing and disappear
ing." - Hartmut Bohme, Sabine Huschka, "Prolog", Wissenskultur Tanz, ed. Sabine
Huschka (Bielefeld: transcript, 2009), p. 13. Stefan Holscher corrects this negligent
reduction of dance to a formal language belonging to the regime of knowledge (we
cannot call it a culture of knowledge) . In accordance with Negri he refers to Spinoza's
distinction between potestas (formations of power) and potentia (facility) in clas
sifying the body. If the body, as Spinoza implies, is understood as the potential of a
facility, then there is a shift in the relation between "constitution and constitutional
ity. " - Stefan Holscher, unpublished dissertation, December 2010.
2 7 The cultural screens work along the same lines as arriere-garde art, as a conserv
ing moment within the anthropic field, which opposes nervous changes and softens
them, makes them easier to assimilate. They are magic and transformation. Their
experience lies beneath linguistic difference, i.e. the are not based on the experience
of difference but that of intensity.
'
In keeping with Deleuze, this turn towards the experience of intensity must be
understood in relation to a turning away from the attempts of classical thinking to
unify thought within a highest, incontrovertible reason and intepreted as a turning
towards the fragmentary and towards metamorphosis.
In contrast to Deleuze, who understands intensities as an exposing, explosive ele
ment (the volcano metaphor) of a "being towards becoming"- and thereby towards
a permanent state of departure and mobilisation - here becoming is brought into a
paradoxical state: "revealing" as "harbouring".
In the understanding of art's arriere-garde the deleuzian intensities are directed
towards people's culturality. Thinking culturality is only possible with a rejection of
civilisational fitness-enhancement, neuro-enhancement and body-building.
28 Friedrich Holderlin, Celebration ofPeace (1801-1802) Translated by James Mitchell
(http://rickrozoff. wordpress. com/201 1 /08/03 /friedrich-holder!in-celebration
of-peace/).
108
The following article is based on the transcript and notes for my lecture
in the Gief!,en conference "Dance, Politics and Co-Immunity". Whereas
the first and third part of the lecture were written as a kind of frame,
a passe-partout, the second and main part was articulated instanta
neously on the basis of notes. In an attempt to account for the problem
of partidpation and sharing within the field of choreography, dance
studies, and philosophy through an adequate method of presentation,
my contribution to the present anthology of the conference alters this
form of presentation: The argumentative lines of a prepared yet impro
vised speech have been written out, and the scripted frame becomes the
citation of a lecture choreographed in situ.
PASSE-PARTOUT
Choreography & Participation: What Do We Share Within A Perfor
mance?
In the representative democracy in which I am living, my participa
tion in politics consists basically in one gesture
(I lift my arm as in a
vote) or (I check mark a box), in Germany (I check mark a box twice).
living. A noble and utterly imp ortant gesture, without a doubt - even if
I don't feel I really have a choice. But I subscribe to this, somehow. 1
109
3 Gilles Deleuze and Felix Guattari, What is Philosophy? trans. Hugh Tomlinson and
Graham Burchell (London: Verso, 2003), pp. 5- 3 4.
appeal to lived experience. On the contrary, it undertakes the most insane creation
of concepts ever seen or heard. Empiricism is a mysticism and a mathematicism of
concepts, but precisely one which treats the concept as object of an encounter, as a
here-and-now, or rather as an Erewhon from which emerge inexhaustibly ever new.
1 10
111
contingent features of that which comes into being can neither explain
nor make a qualitative analysis of transformations and becomings.
Thinking within, through, and around the performances that I had
watched with fascination, I thence wondered how to analyze them. Is
analysis the right term, or an adequate procedure suited to accounting
for choreographies? The complexity of these experimental choreogra
phies seemed to call for an equally complex method, which I missed
in the dance studies and discourses of the nineties. When attempt
ing to dissect or grasp a performance in its doing and its effects, it
seemed to me inadequate to speak of its ingredients as static entities,
because all these aspects (e.g. the people in the performance, light,
movement, etc.), once they were summed up as snapshots (e.g. 3 per
sons, a specific song) , can never account for the way a performance
makes sense.
157-1 66.
1 12
7 The relation between, on the one hand, Deleuze's ontogenetic approach (relying
on a theory of the potential of relations) and, on the other, the actant-network theory
by Bruno Latour (relying on an occasionalist concept of time) is most intriguingly
elaborated by Graham Harman in Prince ofNetworks: Bruno Latour and Metaphysics
(Melbourne: re.press,
113
from one definition to the next. Since the positional model's definitional
framework is punctual, it simply can't attribute a reality to the interval,
does with
out predefining its potential to do othenvise and to innovate its own
one approach choreography through that which it actually
parameters?
ing theatre for dance, telling his failure in reciting a dramatic text to
his ease in movement and his growing success as a choreographer
who tours from East to the "international West" - with a performative
play that critically questions his specific currency as a contemporary
and critical Balkan dancer within the Western European context and
conventions of importing critique. If one tries to describe this perfor
mance only in aesthetic terms, that is, in a purely phenomenological
does. 11 In other
1 14
1 15
given theory, or by
116
for two reasons: first, because Gasche steps away from the opaque
necessity of pinpointing the minimal ontological quanta needed to
make a relation interesting for a philosopher, and second, because his
critique of the ontological debates has an interesting double feedback
onto the aforementioned context of dance's ontology. In this quote,
Gasche explains how his book Of Minimal Things proceeds:
1 17
refers here, first, to the smallest, hence most elemental issues or matters
of concern to philosophical thought. Relation, the title suggests, is one of
the most (if not the most) extreme of philosophy's topics. It is a minimal
thing not because it is the least possible thing but because it constitutes the
philosophical 'thing' in the sense of issue and matter of concern at its most
minute. Relation could thus be considered the most basic and simple of all
philosophical problems.14
concern.
"
"matter of
singu
lar offers of participation for the audience. Speaking of a relation as
singular offer, or better, mode of participation implies a certain way
of thinking agency, as much as participation takes on an altogether
new meaning, to which I will return later.17 Let me just say at this
point that it implies models of agency according to which passivity
is
not the opposite of action, and watching is not the opposite of doing;
are perhaps unequal with regard to role but not unegalitarian in terms
of participation.18 From this point I developed two concepts which aim
1 18
see
and the actant-network theory of Bruno Latour seems most productive to me;
119
to take into account this problem of writing about dance and concep
tualizing participation and agency. First I wanted to find words, con
cepts, ways of speaking about the qualitative transformation of bodies,
and second, about the qualitative transformations of sense. The reason
for these two interrelated concepts lies in the problem I had with the
implicit assumptions concerning qualitative transformations of bodies
and sense in the texts about dance that I had read.
this time, I thought m y response t o this question could only take place
on a subjective level. Then I made a lecture-performance about it enti
tled
written my thesis on this problem, I ' m still not sure whether I have
exhausted the question.
In this context of contamination it is of utmost relevance - also
concerning today's presentations on the nature of problems, problems
of production and procedures of work - to think the very moment
by which you are compelled to do something. There are different
Contamination
Bruno Latour, Pandora's Hope: Essays on the Reality of Science Studies (Cambridge,
Mass./ London, England: Harvard University Press, 1999), p. 288: "Action is not
what people do, but is instead the 'fait-faire,' the making-do, accomplished with
others in an event, with the specific opportunities provided by the circumstances."
According to Deleuze, an assemblage is "a multiplicity which is made up of many
heterogeneous terms and which establishes liaisons, relations between terms, across
ages, sexes and reigns-different natures. Thus, the assemblage's only unity is that
of co-functioning: it is a symbiosis, a 'sympathy. ' It is never filiations which are
important, but alliances, alloys; these are not successions, lines of descent, but
contagions, epidemics, the wind.'' See Gilles Deleuze and Claire Parnet, Dialogues
II, trans. Hugh Tomlinson and Barbara Habberjam (London and New York: Con
tinuum, 2006), p. 52.
1 9 See Xavier le Roy, Product of Circumstances, 1999. For the literature on this
performance, see Sabisch, Choreographing Relations, p. 32. For my analysis of the
performance, see pp. 32-66.
20 See Petra Sabisch, "Karper, kontaminiert. Ein Versuch mit Randnoten zur Per
formance 'Product of Circumstances' von Xavier le Roy,'' in de figura. Rhetorik Bewegung - Gestalt, ed. Gabriele Brandstetter and Sibylle Peters (Mlinchen: Wilhelm
Fink, 2002), pp. 3 1 1-326.
120
121
Mark Franko
Myth, Nationalism and Embodiment in American Document
From this time until the outbreak of World War II Graham was active
in the popular front. A report on a talk she delivered in 1937 - Nazi
Destruction of the Arts - shows that Graham learned of Laban's fall
from favor with the Culture Ministry after the Olympic Games. 3 Graham
asserted in 1939 that dance itself in Germany had been "proscribed;
bound down. "4 But she conceded: "What conditions exist today, at this
time, I do not know, because very little comes out."
The antifascist position in American art dates officially from the 1936
American Artists' Congress. Graham collaborators Barbara Morgan
and Isamu Noguchi were signers of the original call for the Congress;
Morgan's name also appears in 1939 on the Executive Board list of the
New York Branch.5 Graham addressed the second national convention
1 For a discussion of Graham's politics and aesthetics in the early thirties, see
my Dancing Modernism/Performing Politics (Bloomington: Indiana University
Press, 1995) and The Work of Dance: Labor, Movement. and Identity in the 1930s
Graham archive, Library of Congress, Washington, D.C. Those who would not be
welcome in Germany were the Jewish members of Graham's company.
3 "A Dancer and an Educator on Fascism'', Dance Observer (March 1937). See
Lilian Karina, "Laban's Downfall and Post-Labanism", ed. Lilian Karina and Marion
Kant, Hitler's Dancers. German Modem Dance and the Third Reich, transl. Jonathan
ican Artists' Congress. See her "Photography and the Plastic Arts,"
The American
163
9 The original score was by Ray Green. It is preserved in the Music Division of the
Llbrary of Congress. Green was married to Graham dancer May O'Donnell.
10 See Llncoln Kirstein, "Dance: Martha Graham at Bennington," The Nation,
New York City. Archives of American Arts, Smithsonian Museum, Washington, D.C.
September
Morgan was a signer of the call for the American Artists' Congress, and her name
Public Llbrary for the Performing Arts at Llncoln Center. Owen Burke's review in
also appears on the Executive Board list of the New York Branch. Morgan lobbied for
the inclusion of photography in the membership of the American Artists' Congress:
"To incorporate this group of workers in the body of the Congress would be a great
1 64
1 65
166
167
that invaded the privacy of the home, film and photography projected
dynamic impressions of corporeality in public space, magnifying it on
the screens of movie theatres and in the pages of newspapers and
magazines. To understand how Graham's choreography expressed
antifascist politics we need first to understand that the ideological con
test between fascism and liberal capitalism was not only conducted
across a common symbolism, but in embodied terms. In fact, the term
symbol itself as associated with ideologically inflected images is most
likely a misnomer.
[. . . ]
psychology of the deeper life must be represented in the following way [...]
To say that we are acting, implies that we are creating an imaginary world
placed ahead of the present world and composed of movements which
depend entirely on us. "23
168
25 Ibid., p. 57.
26 Willy Gianinazzi, Naissance du mythe modeme. Georges Sorel et la crise de la
pensee savante (1889-1914) (Paris: Editions de la Maison des Sciences de !'Homme,
2006), p. 85.
27 Martha Graham quoted in Merle Armitage, Martha Graham 1937 (New York:
Dance Horizons, 1 966), p. 103.
28 David Gross, "Myth and Symbol in Georges Sorel'', eds. Seymour Drscher, David
Sabean, Allan Sharlin, Political Symbolism in Modem Europe. Essays in Honor of
Geo rge L. Mosse (New Brunswick, London: Transaction Books, 1982), p. 105.
29 Hawkins sailed for Europe on June 22, 1933 and returned on August 5th. Erick
Hawkins Collection, Music Division, Llbrary of Congress: box 77, folder 4.
30 Serenade premiered on June 10, 1934 in White Plains, New York.
31 Jean Erdman interview with Don McDonagh, October 4, 1993, Dance Collection,
New York Pubic Llbrary for the Performing Arts: *MGZTL 4-2567.
169
1 945, to continue well into the 1 950s. Although Graham's myth works
would only be choreographed in the postwar years she began to read
Jung avidly in the summer of 1937 according to Campbell virtually at
the same moment when she premiered her first anti-fascist solo - a
response to the Spanish civil war - Immediate Tragedy. 32 Campbell's
refusal to take an anti-fascist position in a talk he gave at Sarah Law
rence College in 1 940, "Permanent Human Values, " received a stern
rebuke in 1941 from Thomas Mann whose advocacy Campbell had
hoped to enlist. Mann's position on Hitler had changed since he expa
triated - like Brecht and Adorno - to Santa Monica. 33
Graham's post-war engagement with Greek myth took root in the
pre-war antifascist moment - the very moment when Jung was also
establishing an institutional presence in the United States. The Analytic
Psychology Club of New York (now the C.G. Jung Center), with which
Graham's analyst Frances Wickes was affiliated, was founded as of
January 1937.34 Graham's interest in myth so often associated with
Jung came to her through Campbell: a conservative, if not to say
politically retrogressive source in her midst. In the fall of 193 7, Jung
himself came to the U.S. to lecture at Yale University. Otto Rank, then
also living in New York City, wrote on October 15th to his disciple
Jessie Taft: "Jung is coming next week to this country, seemingly an
apostle of Nazism. In today's issue of Saturday Review of Literature he
has an article on 'Wotan' justifying fascist ideology".35
170
171
172
173
un-blurred form and detail in focus should be done with such a fine
logic of movement that it seemingly continues even though arrested
by the camera shutter.48 Morgan names the optimal moment of
photographic capture "the moment of greatest tension before the peak
[ . . . ] or the peak explosion of that tension. "49 To capture the continued
flow of dance in the still image, explains Morgan, the photographer
must anticipate movement. The photograph is only true to dance when
it shows us where movement will go, and this can only happen if
the photographer anticipates the moment she captures by clicking the
shutter before movement actually happens. " If the photograph is shot
in the tension peaks before the release, the picture should nevertheless
imply continuity. "50 Morgan understands action as continuity in the
image between a past, a present, and a future. But, action is equally a
discontinuity or, rather, the occasion for the spectator to do the work
of missing emplotment. 51
This counterpoint between movement and image - between dance and
photography - indicates that we are dealing here with a phenomenon of
figuration, which Louis Marin has identified as a utopian phenomenon.
Imagined community is also, as Phillip E. Wegner points out, imaginary
community.52 It is this gap in the representation between the imagined
and the imaginary that also characterizes the performance of Graham's
antifascist politics; American Document enacted an affirmation of
democracy and a utopian invocation of national community. It is this
utopian aspect of the performance that pertains to the gap between
image and motion, or the gap between the image and the motion that
follows it, a gap that haunts dance photography. We do not see where
movement will go . This inability to see movement's destination, if
only symbolically, occurs in the gap between democratic ideals and
proto-fascist practices, which posit knowledge of where the body will
go because myth in the present is the re-living of a past reality. Dance
photography renders action as the search for continuity toward the
future and captures it through anticipation in the past of a present that
had not yet occurred.
174
175
Public Library for the Performing Arts at Lincoln Center. This review was reprinted
in Ballet: Bias and Belief. Three Pamphlets Collected and Other Dance Writings of
Lincoln Kirstein (New York: Dance Horizons, 1983), pp. 69-71.
56 See F.R. Ankersmit, Aesthetic Politics: Political Philosophy Beyond Fact and
Value (Stanford: Stanford University Press, 1996), especially Chapter One: "Political
Representation: the Aesthetic State," pp. 21-63.
176
177
Ana Vujanovic
Notes on the Politicality of Contemporary Dance
The connection between politics and dance is one of the most dis
cussed topics in the performing arts today. Before I take a closer look
at what constitutes this link, I will introduce some epistemic and social
frameworks within which we can speak of politics when we speak
about contemporary performance and art in general. Then, I will con
tinue with a discussion of the characteristic modalities of politicality
that I register on the actual international dance scene.
To begin with, I want to emphasize that my focus in this text will not
be a particular politics of contemporary dance. Rather, I want to con
centrate on the problematics of politicality as the aspect of an artwork
or art practice that addresses the ways it acts and intervenes in the
public sphere. In doing so, politicality implies discussions about and
conflicts around topics such as the subjects and objects that perform
in a public sphere, the arrangement of positions and power relations
among them, the distribution of the sensible, and the ideological dis
courses that shape a common symbolic and sensorial order of society,
which affects its material structure and partitions. Therefore, my aim
here is neither to advocate political art nor to divide dance perfor
mances into socio-politically engaged ones on the one hand and I' art
pour-l'art practices on the other hand. Instead, I would like to stress
the necessity to think a broad and complex grid of politicality as an
aspect that characterizes each and every performance - be it political
or apolitical, resistant or complicit, transformative or servile - as a
social event that is practiced in public.
181
1 See Hannah Arendt, The Human Condition (Chicago: University of Chicago Press,
1998); and also further reflections in On Revolution (New York: Penguin, 1991).
2 An elaborated critical answer to this challenge can be found in the work of the
Austrian group WochenKlausur; see: http://www.wochenklausur.at/, especially
"'From the Object to the Concrete Intervention", http://www.wochenklausur.at/
kunst.php?lang =en, Access: 26 March 201 1 .
182
need a publicly organized space for their 'work', and both depend upon
others for the performance itself.3
3 Hannah Arendt, Between Past and Future; Six Exercises in Political Thought (New
York: The Viking Press, 1961 ) , p. 1 5 3 f.
4 For further elaborations on this see: Giorgio Agamben, "Poiesis and Praxis", "Pri
vation Is Like a Face", in The Man Without Content (Palo Alto, CA: Stanford Univer
sity Press, 1999), pp. 68-94, pp. 59-68. As Agamben's theses would be a digression
on my main topic here, I only want to mention that they show that a return to
praxis today won't re-politicize art, as the practice is not that what it was in Ancient
Greece, but is - already from the 19 th century onwards - conceived as an expression
of individual human will and creative forces; see also: Ana Vujanovic, "What do we
actually do when . . . make art", Maska 127-130 & Amfiteatar 2 (2010)
5 E.g. Maurizio Lazzarato, "Immaterial Labour", http://www.generation-online.
org/c/fcimmateriallabour3.htm (30 March 201 1 ) ; "Le renouvellement du concept
de production et ses semiotiques" (Chapter 1 ), http://www.howtodothingsbythe
ory.info/2010/06/22/public-editing-3-reference-text_l-le-renouvellement-du-con
cept-de-production-et-ses-semiotiques/ (30 March 2011); Michael Hardt, Antonio
Negri, Empire (Cambridge, Mass. : Harvard University Press, 2000); Virno, A Gram
mar of the Multitude (Los Angeles: Semiotext(e), 2004) .
183
I believe that in today's forms of life one has a direct perception of the fact
184
185
1.
The fist m ?dality is based on the idea that dance as art is a specific type
of social discourse. As such it has the capacity to speak about social
subjects and critical issues such as inequality, intolerance, militarism,
misogyny, dictatorship, fascism, racism, etc. In this sense, the role of
the (political) performance is to raise public awareness and to function
as a critical commentary on a particular social problem. Accordingly,
the medium of performance is not deemed to be an important factor
of its politicality. Moreover, it is considered as a mere formal aspect
of the dance piece, which is neutral and in itself relieved from politi
cal messages. Therefore, the medium is capable of conveying different
messages coming from the content of the performance.
This modality is not a new one. It has already existed since the early
decades of the 20th century in various performing arts practices and
works that considered the political primarily in terms of contents,
themes, or subjects. The conception might be found both in modern
ism - including also some segments of the historical avant-garde and
neo-avant-garde in the '60s - and, on the other hand, in Socialist real
is m , the political and workers' theatre and dance. 9 This inherently
.
divergent scope seems paradoxical, but is not. The crucial idea that
enables all these different practices to understand the political in this
way is that of the representational character of art together with its
exceptional status in society. Consequently, from the perspective of
this mode of politicality, dance could be divided into politically engaged
dance and l'art pour l'art dance. While engaged dance deals directly
with social-political issues, the latter conceives of the dance discipline
as an autonomous field of human creativity, individual expression,
and emancipation of the individual body, which was seen as free from
the social infra-structure and functionality.
In any case, a politically critical remark is that both categories are
bound to the idea of the privileged, transcendental status of dance as
art, which is from this outside position able to speak about society and
politics - or prefers not to do so. What both positions neglect is that
186
2.
187
Eszter Salamon, Ivo Dimcev, and many others from this perspective.
According to Andre Lepecki, they all interrupt the flow of movement
with, for instance, still-acts or the discursive materiality of the body.12
This particular 'betrayal' is worth mentioning here as it challenges
the modern dance paradigm of movement, which obtains a political
dimension by the fact that it is the very paradigm of modernity and
modern subjectivity in the Western world. The question is whether
'the interruption in or of movement' as a critique of modernist sub
jectivity makes (political) sense in a post-socialist Europe that was
excluded from the post-war Western modernism; and if so, which one?
This would require an extensive discussion which exceeds the scope
of this article. Instead, I can only briefly note here that, seen from this
angle, we could read the boom of contemporary dance in the East dur
ing the 1990s and 2000s - again, regardless of content and theme of a
particular dance piece - as a post-socialist celebration of the individual
body and its (neo-)liberty which comes after the long period of training
in anonymous mass discipline and collectivism and whose political
proposition is neo-liberal individualism.
3.
This framework provides us with a strong tool for thinking the politicality
of dance even in the cases traditionally seen as politically indifferent
or apolitical. Speaking historically, one can say that, for instance, the
(post-)minimal dance of the Judson Church Dance Company (Yvonne
Rainer, Trisha Brown, Steve Paxton, etc.) practiced an emancipatory
politics without saying a word on political themes.11 It was clearly
engaged in democratization, individual liberation, and emancipation
in the spirit of the '60s by the problematization of inherited images of
dance, body, and techniques, and by offering critical alternatives to
them, by introducing for example pedestrian bodies and movements
which were inclusive ('democratic') and non-virtuoso.
Today, we could approach the choreographies by Xavier Le Roy,
Jerome Bel, Bad.co and Nikolina Bujas Pristas, Bojana Mladenovic,
Juan Dominguez, Vera Mantero, Mette Ingvartsen, Eduard Gabia.
The third and last mode of the politicality of dance in its current terms
is the result of an intersection of post-Operaist theories and bio-politics
on the one hand and cultural-activist initiatives connected to digital
technologies, particularly the Internet, on the other. In these frame
works the problematics of work become one of the crucial political
questions of contemporary Western societies. As they represent societ
ies shaped by a growing domination of post-industrial economy and
immaterial labour, as already mentioned above, art, culture, and cre
ative industries become central theoretical concerns, even though they
are (mis)recognized as the avant-garde or the places of "silent revolu
tion" of society.13 Furthermore, from free software and open source
through Hacktivism to Copy Left and creative commons licenses,
digital and Internet cultures generate many new-leftist practices that
invite artists to pay political attention to the conditions, protocols, and
procedures of their working processes.
10 See a consistent analysis of the socio-political practice of the artistic signifiers in:
Slavoj Zizek, Mladen Dolar, Rastko Mocnik, Danijel Levski, Jure Mikuz, "Umetnost ,
druzba/tekst" ("Art, Society/Text" ) , Problemi-Razprave 3-5 (1975) .
1 1 See also in Ramsay Burt, "Dance, History, and Political Relevance'', Maska
82-83 (2003).
12 See Andre Lepecki, Exhausting Dance: Performance and the politics of movement
(London, New York: Routledge, 2006).
13 See Lazzarato's own re-thinking in "Conversation with Maurizio Lazzarato", TkH
17 & Le Journal des Laboratoires: "Exhausting Immaterial Labour in Performance"
(20 10) , pp. 12- 1 7.
188
189
190
15 See Marten Spangberg, "Overwhelming, The Doing of Research ", in The Adven
ture (Vienna: ImpulsTanz, 2006): pp. 33-47; Bojana Cvejic, "Collectivity? You
Mean Collaboration?", 2005, http://republicart.net/disc/aap/cvejicOl_en.htm (30
March 2011); Bojana Kunst, "Prognosis on Collaboration", Marko Kostanic, "Art
and Labour", TkH 1 7 & Le Journal des Laboratoires: pp. 20-30, pp. 36-40.
191
Gabriele Klein
The (Micro-) Politics of Social Choreography
Aesthetic and Political Strategies of Protest
and Participation
The cover of the December 201 1 issue of the US magazine Time1 fea
tured a face veiled by a golden cloth. Underneath the title: The Protester.
The magazine had declared this persona, the anonymous protester, to
be their personality of the year. In doing so, Time magazine wished
to honor those, who have committed themselves to the protest move
ments and claimed the streets as a new site of a democratic culture of
participation: from the protests taking place in the Arabic world, to the
demonstrations against the budget cutbacks of European governments,
against nuclear energy, right up to the Occupy Movement in New York.
"There is this contagion of protest", says Times' editor-in-chief Richard
Stengel. "These people who risked their lives . . . I think it is changing
the world for the better."2
In these protest movements a new globalized political culture of par
ticipation is emerging and operating on a local level in urban spaces.
The protesters are demanding a more democratic culture or - in the
alrea dy established democracies, which I will concentrate on in this
text - new forms of participation and involvement3 that go beyond
the processes of authorization and legitimization already inherent to
representative democracy.
Taking place almost parallel to the emergence of these new public
manifestations of a political culture of participation, performers and
cho reographers, but also established institutions of culture and educa
tion, as well as local politicians have (again) been developing a grow
ing interest in participatory performance and choreographic projects in
the public sphere since the 1 990's. Artistic distrust of the established
institutions of art, such as museums, operas or theaters, has drawn
193
these projects to the public sphere and here in particular to the "non
plnces"4, such as train stations or airports, the now theatricalized urban
spaces of consumer culture, where these projects transform pedestri
ans into audience. Or these projects take place in marginalized urban
areas or municipal institutions, where artists, in most cases, work with
the local population or the specific clientele of that institution, which
has commissioned the project from them.
This text seeks to demonstrate the interrelationship of these two
movements in art and politics existing parallel to each other in time,
but otherwise seemingly independent from one another. The main
questions that I will look at here are:
How is the term participation defined in these different social fields,
the realm of art and that of politics? How can the relationship between
these new forms of political participation as expressed in civil pro
test and an aesthetic understanding of participation be described? And
finally, why are these new forms of political and artistic participation
taking place now, after the 1 960's and 1970's?
I will attempt to answer these questions from a social-critical per
spective against the backdrop of the idea of social choreography. My
two main observations thereby are: firstly, that, in a neo-liberal, post
Fordian society, the discourse surrounding participation is taking place
against the backdrop of the neo-liberal principle of the Care for the Self
and a post-Fordian regime of creativity6 If we take into consideration
that in today's Liquid Modemity7 the boundaries between the social
fields have become permeable and that the principles defining the
field of art have become the guiding principles of "new capitalism"8,
we must secondly ask ourselves how art as a space of critical reflec
tion, which always also draws its energy from its difference to other
areas of society, must be redefined in light of the dissolution of social
boundaries.
Before going into more detail, I will first outline how the term par
ticipation is understood in the context of civil protest movements, then
give a short summary of forms of participation found in contemporary
4 Marc Auge, Non-Places: Introduction to an Anthropology of Supennodernity, 2
engl. edition (London: Verso, 2008).
5 Michel Foucault, The History of Sexuality - Vol. 3 - The Care for the Self (New
York: Pantheon Books, 1 9 78).
6 Compare Andreas Reckwitz, Die Erfindung der Kreativitiit {The Inventio n of
Creativity) (Frankfurt am Main: Suhrkamp, 2012) .
7 Zygmunt Bauman, Liquid Modernity (Cambridge: Polity Press, 2008) .
8 Luc Boltanski & Eve Chiapello, The New Spirit of Capitalism (London: Verso,
2007).
194
1 95
196
197
198
1.
1 99
the 19SO's. In 1952, Cage composed 4' 3 3 "- a piece only consisting
of the sounds within the concert hall. That same year Rauschenberg
painted his White Paintings, of which an integral part is the shadows
of the visitors. These pieces do not exist without an audience; it is only
through and with an audience that they obtain meaning. A contempo
rary choreographic example of this form of participation is the piece
Le Sacre du Printemps by Xavier Le Roy (2007) , in which he addresses
the audience as his orchestra, while Xavier Le Roy takes on the role
of the conductor. This piece integrates the audience conceptually and
can only be understood in the interactive relationship between art
ist and audience. For months, Le Roy studied a video of Sir Simon
Rattle rehearsing Le Sacre du Printemps with the Berlin Philharmonic
Orchestra and then developed his choreography out of the conductor's
movements. Participation here takes place via imagination, memory,
anticipation, whereby the audience functions as an indicator for the
dynamics that Le Roy develops during the performance.
2.
200
3.
Participation as Involvement
201
20 In Berlin, "Emergence Room" took place in the summer of 2011 on the grounds
of the Uferstudios in a circle of construction trailers surrounded by screens so that
it was impossible to look in from outside.
202
1.
203
204
205
206
represent their special interests and with the help of the tools of par
ticipatory democracy brought about the end of an ambitious school
project in Hamburg.
From this perspective, participation in artistic productions and politi
cal participation cannot be seen as two separate discourses and social
fields, the field of the art and the political field, as auto-poetic systems
with their own rules, norms and values. In the words of philosopher
Jacques Ranciere, they can be seen as two forms of the "division of the
sensual". Accordingly, choreographic participation proj ects and cho
reographic forms of protest are the interwoven strategies of a "politics
of the kinaesthetic" and "kinaesthetic policy". Accordingly, political
participation should be less understood as an institutional strategy or
as a field subsidized by politics in contrast to art as a purely aesthetic
practice or an impulse for cultural education. Instead, the political
is here formulated normatively and focused on one aspect: political
activity, which is according to Ranciere "something that removes a
body from its natural place or the place that is naturally assigned to
it, which makes visible what should not have been seen, and which
makes comprehensible as speech something that would normally be
considered noise". 29
Aesthetics should therefore not be described as art theory and the
aesthetic not just as a form of perception. Instead, we must examine
how the aesthetic is inscribed in political practices - and how these
practices with their norms, rules and habits, already act in guiding sen
sual perception inasmuch as they provide social orientation, delineate
the social and political space and in doing so regulate social percep
tion. And it is precisely the political dimension of the physical-sensual,
of movement perception, which constitutes the dimension of kinaes
thetic politics 30: political activity is understoo d as the sensual practice
of visualizing and transforming cultural and social codes, especially in
the public sphere - even in ways that contradict the "police order", as
Ranciere calls it.
Political and aesthetic intervention in the "police order" is an impor
tant and indispensable step. These aesthetic forms of participation are,
in my sociological argument, political, when the aesthetic practice ran
kles structures, norms, habits and conventions - not only calling them
into question, but also changing them. In other words: They are politi
cal when they produce a critical difference to the "kinaesthetic reality
29 Maria Muhle's foreword in: Jacques Ranciere, Die Aufteilung des Sinnlichen
(Berlin: b_books Verlag, 2006), p. 9. Translator's Translation.
30 Andre Lepecki, Exhausting Dance: performance and the politics of movement
(New York: Routledge, 2006).
207
of the modern age"3 1 And finally they are political, when they exist not
just as functional networks, but also create a sense of community. Not
as an objective, but as a precondition of the practices themselves.
From this perspective, participation in artistic projects should not
(again) be dismissed as a mere trend. Rather it would be an important
and worthwhile task to write an alternative history of choreography
with a focus laid on participation projects; a history that inquires into
the conditions and possibilities of creating community in corporeal
figurations. In such a line of inquiry, choreography could also be more
clearly defined in its sociological dimension, by examining the order of
movement in its social und physical temporality and cultural spatiality
and in terms of the rhythm of taking part and involvement.
Randy Martin
Mobilizing Dance
Toward a Social Logic of the Derivative
208
2 This question has informed my previous work on dance. See, Randy Martin,
Performance as Political Act: The Embodied Self (South Hadley, MA: Bergin and
209
Garvey, 1998; and Critical Moves: Dance Studies in Theory and Politics (Durham:
Duke University Press, 1998).
3 For a recent effort to examine the intersections between logics of networks and
organizations see Ned Rossiter, Organized Networks: Media theory, Creative labour,
New institutions (Rotterdam: NAi Press, 2006).
4 The literature on the financial crisis itself looks to be a genre out of control with
new titles appearing daily. Yet the tropes of missed regulatory opportunity, of excess
by a few outliers, or insufficient cash reserves often miss the normalization of dis
equilibration that continues after the fall. For some representative accounts see, Paul
Mason, Meltdown: The End of the Age ofGreed [London: Verso, 2010) or Gillian Tett,
Fool's Gold: The Inside Story of J.P. Morgan and How Wall Street Greed Corrupted
its Bold Dream and Created A Financial Catastrophe (New York, London, Toronto,
Sidney: Free Press, 2009) which contains a chapter entitled "Dancing Around the
Regulators," a hint at the kind of suspect politics associated with dance.
210
There is a common figure that twins these crises of the economic and
the political and that entangles the logics of network and organization.
It is that of the derivative. A derivative is an attribute of some value
that can be bundled together with like features that can be traded in
their own right. 5 In financial terms, derivatives are used as insurance
policies to hedge against future transactions where interest rates, cur
rency exchange rates, mortgage rates, can vary between the time a
contract is made and when it comes to term. In this respect derivatives
bring together things that are far apart and make the future actionable
in the present. The traffic in derivatives can move in all directions
while the bundle of goods to which they are tied stays put. The value of
those goods being insured is called the face or notional value, whereas
the derivatives comprise a kind of composite body that both particular
izes certain risks and generalizes a condition of risk, which in financial
terms is a measure of potential gain beyond what would be expected.
These financial conditions have entered deeply into productive activ
ity, not simply because companies like General Motors came to make
most of their profits financing loans on cars they manufactured but
also because industrial production in a global economy has come to
rely on derivative contracts to commensurate all manner of difference
in costs of labor, supplies, currency exchange and the like.
When taken as a broader social logic, and not just as activities that
take place within one sector or domain called the economy, these
dynamics of the derivative can be seen across all manner of human
activity in ways that engender mutual indebtedness, interdependen
cies across different times and places, and a swelling socialization of
what people take to be and expect from life, history, and their future.
Rather than a moral compromise to be avoided, the social entailments
of indebtedness are the basis of political engagement. 6 What we call
identity is certainly an attribute of self that gets bundled, valued and
circulates beyond the wholeness of an individual person. The under
standing of social problems as risks to be managed by mathematical
models of outcomes applies to weather variations, military interven-
5 For accounts of derivatives beyond their technical financial aspect see, Dick Bryan
and Mike Rafferty, Capitalism With Derivatives: A Political Economy of Financial
Derivatives, Capital and Class (Basingstoke: Palgrave Macmillan, 2006); Ben Lee and
Edward Lipuma, Financial Derivatives and the Globalization of Risk (Durham: Duke
University Press, 2006); Randy Martin, Financialization of Daily Life (Philadelphia:
Temple University Press, 2002).
6 For a conception of the political grounded in a nuanced understanding of mutual
indebtedness see, Richard Dienst, The Bonds ofDebt: Borrowing Against the Common
Good (New York: Verso, 2011).
211
212
Derivative Doubles
Derivatives are being asked to do some heavy lifting, both practically
and conceptually. Some unpacking is in order to see how the derivative
moves from finance through the political quandary p osed by network
and organization to dance. In finance, they are to be everywhere, ren
dering things very different in substance and purpose from matters of
local to global interest. A table might be made to serve a simple meal.
But when the interest rates on loans to the factory, a futures contract
on the price of wood, and the currency exchange rate variations are
blended together with similar factors of production in all manner of
other goods and services, then upon the humble table can be placed
a global feast. Derivatives, in the very manner in which they come to
be, reference a double life, as re-inventions of things for themselves
into matters of interest to others, of local capacities viewed from the
p erspective of global attentions, of future prospects seen as present
opportunities.
The imperialist order that was to replace the colonial regimes after
WWII traded the direct p olitical administration of one territory over
another for an invitation - albeit always backed by threat or delivery
of military force - which in turn rested upon a financial authority
that choreographed the world's exchanges. 10 This monetary architec10 The link between the rise of finance and the proliferation of imperialist war was
made by Rudolf Hilferding in his seminal formulation, Finance Capital: A Study of
213
the Latest Phase of Capitalist Development (London: Routledge, 1981 [1910]). The
specificity of tile U.S. turn is contextualized by Giovanni Arrighi, The Long Twentieth
Century: Money, Power and the Origins of Our Times (London: Verso, 1994).
11 The notional value of exchange based and over-tile-counter derivatives are
tracked by tile Bank for International Settlements. The quadrillion dollar figure
comes from adding up the two kinds of derivatives for June, 2008 ($672 billion
for OTC and $428 billion for exchange-based). See, "Statistics on Exchange Traded
Derivatives, http://www.bis.org/statistics/extderiv.htm; and "Semi-annual OTC
derivatives statistics," http://www.bis.org/statistics/derstats.htm.
214
215
216
217
16 The dance accounts here are clearly telescopic. See, for elaboration, Mark Franko,
Dance as Text: Ideologies of the Baroque (Cambridge: Cambridge University Pres s,
1993); Manha Graham, The Notebooks of Martha Graham (New York: Harcourt
Brace Javanovich, 1973); Sally Banes, Democracy's Body: Judson Dance Theater,
1962-1964 (Ann Arbor: UM! Research Press, 1983).
218
Dancing Derivatives
Treated heterotopically, postmodern dance, hip hop and boarding cul
ture point toward a trivium of abandoned space turned to ground for
distributed sovereignty. Consider Trisha Brown's 1971 Roof Piece, or
Man Walking Down the Side of a Building (1970) . 17 The buildings in
question in Manhattan's Soho have become surfaces for dance when
the manufacturing businesses that had occup ied these loft quarters
left the city. This capital flight was no doubt a condition for the cre
ation of a downtown dance scene (and the subsequent appropriation
of Artist in Residence incentives back to commercial real estate and
gentrification) . 18 It was also spatial and temporal material from which
a ped estrian movement could be crafted from an urban fabric. In the
context of then emergent environmental art, the minimalist descent
17 For video documentation of these dances see, Trisha Brown: Early Works, 19661979 ( Artpix, 2004)
18 See Sharon Zukin, Loft Living: Culture and Capital in Urban Change (New
Brunswick: Rutgers University Press, 1989), and Neil Smith, The New Urban Frontier:
Gentrification and the Revanchist City (New York: Taylor and Francis, 1996).
219
220
Generative Risk
It has become common to narrate this migration as one of commer
cialization and even recuperation of resistant impulses. 22 Surely these
instances of upward mobility are evident in postmodern dance and
hip hop, but the intriguing feature about derivative logics is what
they leave behind - which turns out to be most of the networked and
organized sociality crafted and created by the practitioners engaged in
these forms. Claiming such narrows parameters of success or making
21 For documentation of these practices at their inception and a treatment of
t he cultural and geopolitical surround, captured on film by the participants, see,
Dogtown and Z-Boys (Stacy Peralta, Columbia Tri-Star, 2001).
22 This is the argument in Iain Borden, Skateboarding, Space and the City: Archi
tecture, the Body and Performative Critique (Oxford: Berg, 2001) .
221
222
23 For a critical look at the advent of self-help, see, Micki McGee, Self-Help, Inc. :
Makeover Culture in American Life (New York: Oxford, 2006).
24 The notion of moral panic was developed in British cultural studies of youth
culture and crime, and has morphed into a generalized trope of war on domestic
p opulations. The seminal study is Stuart Hall, Policing the Crisis: Mugging, The State
and Law and Order (New York: Holmes and Meier, 1978) and the updated reflection
223
capital has jettisoned its own utopian promises, emerging social logics
of the derivative point us in different directions. Utopia as an ends we
touch through our own means of intervention. The ruins left are not
sources of poverty, depletion and shame but the very roots of what
could make population assemble for its own sake, to value it ensemble
capacities as creative choreographies. Population has a double and
internally antagonistic etymology in the action of laying waste or ruin
of the country and to people or inhabit a domain. Valuing the ways in
which we are linked together without being one, that we share certain
sensibilities of moving together without needing to model or imitate
some one opens conceptions of sovereignty as self-production that just
might serve as a momentary realization of the future in the present.
The much vaunted and readily dismissed ephemera!ity of dance (and
finance) would thereby assume a generative durability, an elaboration
of times and spaces in which collectivity itself would gain and circulate
its own currency.
25 For an account of this elaborate but unseen and undervalued mass of creative
labor that underwrites the art world see, Gregory Sholette, Dark Matter: Art and
225
224
PROLOGUE:
Our contribution to the book Dance, Politics, and Co-Immunity should
be considered as a textual version of the performance, suitable to the
printed format of a theoretical volume. Thus, this is neither a text
about the performance nor its description but a performance itself, a
performance on paper.
227
228
He is closing his lap-top and putting it in the left front comer of the
"boxing ring".
He is taking his clothes off, putting them in the right front comer.
He is now only in his underwear with a fake animal or maybe Balkan
macho fur on the shoulders, chest, and back.
He is pouring blue pounce on his hair, making the shape of a small
hat, and adding a red spot just above his forehead.
He is making an altar in the left back comer - putting an Orthodox
icon on top, and adding real whistle around the neck of the saint.
He is giving a sign for start.
When I was a kid I wanted to b ecome an artist.
229
Like this. Like this. And it was ok. And after a while you do, at the end
of the warm up, you do the big split.
The performer is taking off the fake animal or maybe Balkan-macho fur
from his shoulders, chest, and back.
He is putting on Adidas shorts and an athlete T-shirt.
So, in the next years I started to take acting classes with kids until the
time I was 16.
I was 16. I was in acting class and I had to go out on stage and
to make my scene but I didn't learn the text. Yeah, I was very lazy.
You've got it from the beginning. Even at 8 I was already lazy.
And then the teacher - I think he was, he couldn't stand it anymore
and he said: ok - go away. I don't want you in the class anymore and
you? he won't make performance!
I was very, very shocked!
But it was in the cultural centre and in this room after the acting class
there was a dance class. So, I decided to stay in the room. He said: go
out, I said: no - and I stayed in the room, and I stayed in the room for
the dance class. So, the dancers came and the teacher came and I took
the dance class.
Everybody was ok. A new student . . . I've started to do exercises.
Warm up.
He is doing exercises.
23 0
231
(We all take a step aside - or any other direction - to detach ourselves
from the flow of the performance)
He announces:
And, now it's time for a digression. I apologize for interrupting the
spectacle. Please be patient, in just a few minutes the performance
will continue to run.
Here, together with my colleagues, I would like to open a gap through
which we temporarily escape? both from the original version of this
performance as work-in-progress and from the later phase as work-in
regress.
Beyond this gap, there is a 3rd phase in which you can find My pri
vate biopolitics and the whole Indigo Dance project not as an art work,
a "piece" but as a discursive platform.
The platform is meant to be an artistic means, or a methodological
tool which we wish to share with contemporary dance and performance
artists, who are willing to reflect their contexts and public work. And
also to all who have something to say about the structure of the global
World of contemporary dance and performance.
With this digression we want to open up the possibility for the work
itself to be transformed into its own archeology. Together with other
colleagues from other contexts we want to discover or to reveal its
multiple layers without an artistic aura that could seduce our gaze.
So, please consider this performance only as its own possible demon
stration or actualization, and as a part of an open research platform
that includes also talks, methodological games, discussions, etc.
Ok, now I will continue as nothing has happened . . . Maybe nothing has
happened, indeed.
232
He is taking the letter from the floor, reading it aloud or rather re-telling
it.
In the dream Bojana Cvejic has a new performance.
It is something between theoretical performance and circus ! Together
with Bojana Cvejic there is a real trained elephant. In this dream the
elephant represents the dance scene from Serbia. But which part of the
dance scene? The part that has had a ballet education and is now trying
to make a step into experiencing contemporary dance. The interesting
thing in this dream is that the elephant responds to questions and
tasks given by Bojana Cvejic and takes position of self-criticism and
self-irony. And in some moments it seems that the elephant is being
aware of what it is being told and that is not only about mechanically
trained reactions.
233
He is moving from pot to pot along the diagonal, toward the front stage,
attaching a copy of the image of a figure whose legs and hands are
mixed up to each of them???.
NOTA BENE:
Just to clarify something about this thesis.
Conceptual dance that is the most influential in our dance contexts
is not a big mainstream paradigm of European dance scene but it's a
marginal practice.
And that is just what the problem is about!
234
23 5
To the technicians:
Please, in the next few minutes give me the lights of all the perfor
mances that have been performed here in this space ! ! !
Blackout!
Am I also already late in this attempt to mark the dance traces?
23 6
237
Then, I realized that the majority of the dance scene in Serbia neglects
this as it conceives a dance piece does not address theory.
We have the situation where choreographers and dancers don't need
to articulate their work in theoretical terms.
So, I was thinking what would happen if we replace the words in
this statement
"Artists have to walk through theory",
And if we say:
"Dancers - have - to - dance - through - theory"
or:
"Dancers - have - to - walk - through - dance"
What kind of new engagement would be required from us?
And would this new engagement make the traces (to become) more
visible?
Or, all that I am saying and presenting to you here has nothing to do
with it!
What if it is only a matter of geo-politics?
Then all my materials that I've prepared for tonight are meaning
less ! ! !
The performer is taking a paper from the left square, and reading in
Serbian the decision of the Department for Culture of the City of Novi
Sad.
In the decision, they politely inform him that they decided not to
support the project "Indigo Dance", because its content, altlwugh inter
esting, is not a subject matter of the Department (i.e. a matter of cul
ture).
These were some of the materials!
As you can see there are more, but of course I am not going to present them all now.
I don't have time!
I have to prepare the video of this performance!
I would need your help to do it and I can't hold you here for the
whole day or night.
I have to act fast! ! !
What to do with all o f them?
Each of them presents the local "specificum" which, in fact, neither
we ourselves nor I suppose the International co-production house
Brut in Vienna want to know about, where they expect me to present
contemporary dance and new dance tendencies.
238
Ok!
I've decided to purify my work, to purify my dance.
I should clear it of local context because that is what is acceptable.
Only exotic or pure dance, uninterrupted flow of movement is
acceptable.
239
Dark.
I don't want to risk that with all theother materials that I had prepared
for this performance no one will be interested in it, will be interested
in local specificum that disturbs the flow of dance!
I don't want my work to be considered as a betrayal of the bound
between dance and movement.
So, it will be only this pure dance that will follow now, made within
its familiar parameters!
EPILOGUE:
He is taking the camera from the le square and inviting one of you to
record. You or if not you then some other good willing visitor or reader
is taking the camera.
The camera is on (you can use the camera on your mobile phone as
well) .
The performer is singing and dancing "The Last Tango" all over the
stage.
He is performing a series of dance sequences, from his own or the oth
ers' performances. They seem familiar to you. The changes are very fast.
All kinds of movement and dance styles are included. It is something
like a dance nightmare.
While a strange music (you can only recognize words: le ne sais
pas . . . ) is running he slowly dances on the confetti path, from the front
stage, turning his back to you.
The fire protection metal "curtain" is opening.
You can see the Main stage behind.
While dancing, the performer is leaving the Hinterbiihne and entering
the Main stage of the Serbian National Theatre. The spot light is on.
He is dancing on the Main stage!
In a found set.
In front of the empty auditorium.
Music stops.
240
241
perspective from outside of the syste?,And its real, not only symbolic
outside position is the very symptom it talks about: the Western
monopoly over the contemporary dance scene.
Maybe these festivals are fully aware that their critical potential is
weak and in fact benign as it is already adopted and appropriated by
the system they belong to.
BUT!
If it is so, then they made a mistake!
Because thanks to these invitations this performance also becomes
a part of the system, adopted by the system and legitimatized by the
system. And I am, by performing it, loosing my exceptional critical
position - the outside position that is material evidence of the criticism
that I am performing!
and about the patronization of "the backward" and "the always late
(comers)".
We would usually propose to start with a discussion or an after talk
moderated by a (local / present) theorist, artist or in this case by you
on the spot. After that, you can play some of the methodological games
(Impersonation game, Generique, etc.) by applying them to the sub
jects and problems raised in My private bio-politics.
For more info about the games please visit: www.everybodystool
box.net or contact us: sasentic@yahoo.com
If all these assumptions are correct then I can only apologize to all of
you for not fulfilling your expectations, being aware that my critical
performance became just one more piece at these festivals!
It's not my personal fault, and it's not your or their personal fault.
That is how the art, dance system operates.
Now, I am wondering if I was a part of the system even before these
invitations?
Did this mistake date from much before?
According to Boris Groys:
"The only difference between Western and Eastern art is
that Eastern art always comes from the East!"
242
243
Ramsay Burt
The Biopolitics of Modernist Dance
and Suffragette Protest
247
248
3
4
S
6
Henri Hubert and Marcel Mauss, "Essai sur la nature et la fonction du sacrifice,"
Annee sociologique, 2 (1899): pp. 29-138.
249
250
251
252
253
the unjustifiable way in which women were being denied liveable lives
at the beginning of the twentieth century and reduced to bare or naked
life.
The 2 1-year-old Rebecca West, at the start of her career as a journal
ist, wrote an angry article for The Clarion, a weekly socialist newspa
per, inspired by her attendance at the funeral of Emily Davison. West
describes Davison as someone who: "delighted by the world which her
fine wits and her moral passion had revealed to her could not rest till you
had seen it too" .14 Noting Davison's academic achievements - she gained
honours in degrees at both Oxford and the University of London - West
remembers her "cheerfulness and her pyrotechnic intelligence blazing
the brighter through a body worn thin by pain."15 Noting that Davison
had been imprisoned eight times, West laments the price Davison paid
"for wearing a fine character in a mean world."16 Davison's life, she
writes, was a tragedy "which we ought not to have permitted", and, in
an astonishing passage, points the finger of blame at the whole institution
of government which she compares with Jack the Ripper and accuses of
taking a sick pleasure in violence against women.
Today Jack the Ripper works free-handed from the honourable places of
government: he sits on the Front Bench at St Stephen's or in those vast
public sepulchres of conscience in Whitehall, and works not in secret but
through Home Office orders and scarlet-robed judges. Scotland Yard is at his
service; the medical profession, up to the President of the Royal College of
Surgeons, places its skills at his disposal, that his mutilations may be more
ingenious. And for his victims he no longer seeks the shameful women of
mean streets. To him, before the dull eyes of the unprotesting world, fall the
finest women of the land.17
254
255
19 Bronislava Nijinska, Early Memoirs, (London & Boston, Faber and Faber, 1982),
p. 450.
20 Adolphe Julien, "Theatre", Journal des debats, June 8, 1913, pp. 1-2. "Le plus
facheux, dans le Sacre du Printemps, n'est pas qu'il ait compose en scenario et
regle une choregraphie d'une pauvrete desesperante, c'est que cette monotonie et
cette insignifiance si pretentieuse, aient entraine M. Stravinsky a vouloir !utter de
bizarrerie avec son collaborateur."
21 Richard Capell, "Cannibal music: Amazing production of Russian Ballet," The
Daily Mail, July 12, 1913, p. 5.
22 "The fusion of music and dancing: 'Le sacre du printemps'," The Times, July 26,
1913, p. 8.
23 Cited in Macdonald, Nesta, Diaghilev Obseroed by Critics in London and the
United States 1 9 1 1 - 1 929, (New York: Dance Horizons and London: Dance Books,
1975), p. 97.
256
24 "Russian Ballet. 'Le Sacre de Printemps'," The Daily Telegraph, July 12, 1913,
n.p.
25 Teresa Billington-Grieg, "Suffragist Tactics Past and Present" [1912], Marie
Roberts and Tamae Mizuta eds. Perspectives On The History Of British Feminism.
The Militants: Suffragette Activism, (London: Routledge, 1994), pp. 1-14.
26 "The Russian ballet", The Daily Telegraph July 26, 1913, n.p.
257
mechanically assumed her pose of the victim ready for sacrifice, and stood
amidst the thunder of applause and shouts of protest descending upon her
from the auditorium. She did not move, standing just like an idol hewn
Isabell Lorey
Politics of Immunization and the Precarious Life
from wood. Except that the tears flowed, making furrows in the greasepaint
on her face. Fifty years later in Leningrad, in a room on Ligovsky Prospect
which looked onto a rather gloomy courtyard, an old lady stricken with
paralysis maintained a long and persistent silence, until she pronounced:
"Sergei Pavlovich pushed me onto the stage. I stood in the middle and just
howled".27
258
1 Isabell Lorey, Figuren des Immunen. Elemente einer politischen Theorie (Ztirich:
Diaphanes, 201 1 ) . More figures of the immune can be conceptualized.
259
against persecution.2 Thus, most of the key terms have been named
according to which political immunization unfolds: dues [Abgabe] and
protection [Schutz]. The two lines of meaning of give-away and protec
tion can be traced back to the Roman use of the word munus that is
contained in immunitas. The Latin munus does not only mean 'dues'
or 'duty', but in a second line of meaning that shows in the verb munio
also 'to defend', 'secure', 'protect'.3
Munus in its ambivalent meaning of dues and protection is not
merely a part of the word immunitas, but also of communitas. Hence
munus keeps community as well as immunity together, so to speak,
for only via its complementary concept of communitas does immu
nitas make sense.4 This means that political immunization with the
aim of confirming domination always implies a specific conception of
community, and this is why the notion of community requires some
specification before I can address the figures of the immune.
Starting from munus, communitas also branches out into a line
of protection and one of obligation. Within such a differentiation
two extreme perspectives of current debates about community can
be glimpsed, two poles that are not so much mutually exclusive as
constitutive of each other. Put bluntly, one of these extreme perspectives
views community as union and identity, as unification. An example
of this is Ferdinand Tonnies' conception of patriarchal community
that safeguards the rule of the protective father. 5 Important for such
a community are precise demarcations towards an outside, which
protect and retain one's own and property through belonging: wife
and children, servants, one's home, land, and cattle. This conception
of community can be traced back via the noun communio to the Latin
verb munio, which means fortify, protect, and secure and thus belongs
to the genealogy of meaning of protection, here fortification towards
the interior and defence against the outside.6
The second, seemingly diametrically opposed perspective sees itself
as an emancipatory conception of community that defines itself neither
primarily via in- and exclusions nor via the protection of one's property.
In the line of meaning of dues to be paid, communitas here denotes in
a transformation of com-munis 'sharing common give-aways, common
charges or obligations'. 7 Roberto Esposito, philosopher from Naples,
has proposed an alternative conception of community based on this
perspective, one that starts from munus as give-away and not from the
protection of one's own.8
For Esposito a community of protection as outlined for example by
Tonnies completely misses the significant aspect of communitas. For
him, its meaning lies in the fact of sharing certain dues and precisely
not in erecting walls for the protection of one's own. Esposito stresses
the obligation to give something away, to exchange things with oth
ers, so that living together will be possible. Munus is here understood
as a gift that one must not refuse, as an obligation, a compulsory
mutual debt, as a duty that connects. Each and every person who
gives something away exists in a basic dependency on others, since
what is given away is shared. This foundational sharing and giving
away means a dispossession according to Esposito. His communitas of
those who give away is based on an understanding of munus that is
always conceptualized negatively in relation to identity and property.
Communitas is based on a lack, a loss and a "substraction"9: munus
always also means minus.
Esposito relates the communitas of those who give away dialectically
to the (patriarchal) community of protection. His argument claims that
this community of protection is primarily focussed on self-preservation
frequently regards exchange, the close encounter and the contagion by
Recht des ersten christlichen Jahrtausends. Von der Urkirche bis zum grof!,en Schisma
(Wien, Miinchen: Herold, 1953), pp. 171-173 and pp. 343-344; parliamentary immu
nity finds its initiations in the English parliamentarianism in the 171h Century.
3 This double meaning goes back to Varro ling. 5, 179 (Varro, De lingua Latina,
libri S); see also the definition of the noun moenia in Paulus Diaconus' excerpt of
Sextus Pompeius Festus: Fest. 144.
4 See also Roberto Esposito, Immunitas. The Protection and Negation of Life, trans.
Zakiya Hanafi (Cambridge: Polity Press 201 1 ) .
5 Ti.innies, the founder o f the German sociology, was the first who distinguished
between community and society. See Ferdinand Ti.innies, Community and Civil
Society, ed. Jose Harris, trans. Margaret Hollis (Cambridge: Cambridge University
Press 2001). Until today Tonnies is one of the central authors of reference concerning
community.
260
261
the Other as a threat that has to be negated and prevented. Living with
others is endangered by identity, unity and property.
This mutual negation between communitas of give-away and
community of protection can only be sublated or synthesized according
to Esposito. He looks for a new form of community10 , one that neither
abandons self-protection - immunity understood in these terms - nor the
connection with the Other. Instead of defence, his goal is "immunitary
tolerance"11 of the threatening forces within the interior of the self,
the alien that cannot be expelled or rejected, but is kept alive. Life is
not endangered, but maintained in a fundamental way. This synthesis
between the communitas of give-away anc;l the community of protection
(that he conceives as immunity, as immunitas) Esposito finds in the
"female body."12 Besides organ transplants he repeatedly mentions
pregnancy as an example of how living with an Other, as living with
one another is not negated. For Esposito the "female body" becomes
an allegory of the "social body" that, based on the model of pregnancy,
"re-establishes the relation to communitas and to munus in its original
sense."13 Here Esposito problematically reiterates heterosexual gender
normativity and also comes close to positions of anti-abortionists who
can only view abortion as a negation, as a lethal threat to life.
Inspite of these problematic aspects, with his "inseparable dialectic
of community and immunity"14 Esposito provides some central terms
for the dynamic of juridical immunity. This immunizising dynamic
is one of the paradigmatic figures, which characterizes an occidental
modern thinking of domination, security, and threat and which funda
mentally influences conceptions of equality and inequality.
Juridical Immunity
262
263
others. The extreme of contact with others, the contagion of the many,
also shows itself in Hobbes as the lethal poison of insurrection or civil
war. It is only in this binary logic of mutual negation either subjec
tion to the law or lethal insurrection as a natural state - that Hobbes's
sovereign order can dominate and defeat that which is constructed as
its threat, its constitutive outside.
Also Esposito leaves the connection between communitas and
immunitas in a comparable relation of juridical immunity. Yet in contrast
to Hobbes he does not think in terms of existential precariousness,
but envisages the threat of (community) life through immunizing
dynamics. Living with others in the communitas is endangered by
identitarian and sovereign strategies of self-protection, as if one could
imagine it as invulnerable.
-
Biopolitical Immunization
The other figure of the immune that confirms domination, biopolitical
immunization, does not evolve from the negation of the munus as
give-away, but can clearly be associated with the line of meaning
of protection. This figure of the immune can be developed from the
Latin verb immunio, which primarily denotes securing and building
up protection.19 The prefix in- in immunio means a movement into
something that already exists, into something worth protecting.
Biopolitical immunization is characterized through the movement of
Hereinnahme, of taking-into, of incorporating or integrating what is
constructed as threatening in order to overcome its threat.
With the aid of the figure of biopolitical immunization liberal
democratic ways of governing all the way to the present can be
analysed, although this does not mean that Liberalism does not know
juridical immunity. Following Michel Foucault, I trace the start of the
biopolitical dynamics of immunization to the eighteenth century, the
time of the development of capitalist forms of production and of the
circulation of people and commodities. 2 Foucault illustrates this very
vividly in the example of the city in the eighteenth-century. Its walls
have been broken down, not least in order to permit the economy to
prosper in new ways, to allow goods to circulate. At the same time
European cities were confronted with an increased insecurity concerning
19 See Tacitus, Annals (Tac. Ann. 1 1 ,19); and item Immunio, Thesaurus Linguae
Latinae, vol. VII (Leipzig: Teubner, 1979), p. 503.
20 See Michel Foucault, History of Sexuality, vol. 1: The Will to Knowledge, trans.
Robert Hurley (London: Penguin Group, 1998).
264
265
Constituent Immunization
My interest is to go beyond the logics of immunization that confirm
domination. This is why I propose a third, subversive figure of the
immune: constituent immunization. It concerns an understanding of
immunization that is a far cry from its everyday meanings.
The dynamics of a subversive figure of the immune can also be
developed out of the verb immunio. Instead of a movement of incor
poration into an already constituted political body, instead of an inte
gration into the constituted, immunio can also be used to highlight the
23 For a distinction between the notions 'precariousness", 'precarity' and 'precariza
tion', see Isabell Lorey, "Gouvernementale Prekarisierung", Inventionen I: Gemein
pp. 72-86.
24 See Isabell Lorey, "Governmentality and Self-Precarization: On the Normalization
of Culture Producers", trans. Dagmar Fink and Lisa Rosenblatt, Art and Contemporary
Critical Practice: Reinventing Institutional Critique, ed. Gerald Raunig and Gene Ray
(London: Mayflybooks, 2009), pp. 1 87-202.
25 See also Judith Butlers Introduction in her book Frames of War.
266
26 See also Antonio Negri, Insurgencies. Constituent Power and Modem State, trans.
Maurizia Boscagli (Minneapolis, London: University of Minnesota Press, 1999).
27 See also Isabell Lorey. "Attempt to Think the Plebeian. Exodus and Constituting
as Critique", trans. Aileen Derieg, Art and Contemporary Critical Practice: Reinventing
Institutional Critique, ed. Gerald Raunig and Gene Ray (London: MayF!ybooks, 2009) ,
pp. 1 3 1 -140. For the whole reinterpretation of the struggles between plebeians and
patricians see Lorey, Figuren des Immunen.
267
pure negation of the existing order. What the plebeians did was radical
disobedience.28 They 'left' Rome and moved onto a mountain outside
the city walls. By doing so they let the existing order of the Roman
patricians run empty. Yet this secession, this exodus - and this is its
decisive aspect - was not all. On the mountain the plebeians gathered
and constituted themselves as a political alliance; they elected rep
resentatives and gave themselves an order of their own. Only when
the patricians grudgingly promised to accept this (dis-)order did the
plebeians 'return' to Rome, and the two hundred year-long history of
the Roman republican struggles of the orders took their course.29 The
union, the concordia of the Republic thus becomes an illusion; discor
dia, the lasting political struggles for a common order in Rome, instead
becomes constitutive of this roman constitutional process.
The plebeians defended themselves with the aim to protect them
selves against further violent threats. This means that the plebeians
immunized themselves against the patrician domination by consti
tuting themselves for their own protection. Exodus and constituting
configure the constituent immunization and are characterized in the
simultaneity of radical disobedience and the opening up of (new)
political agencies. Exodus and constituent power enable struggles for
societal orders. When the struggles of orders intervene in relations of
domination, they transform the detected hierarchical social and politi
cal conditions in a contested process of constituting.
In the framework of a constituent power beyond sovereignty the con
as in the Latin word constituo or constituting means a 'with' that is not
geared towards a community, a com-munitas. It is also not geared pri
marily towards "mutually shared obligations", towards a mutual munus
that forms a communitas. Constituent immunization escapes from the
political community that must be immunized as a political body. Such
a resistant form of the immune ruptures the dynamics of immunization
in which political and economic domination functionalizes the precar
ious-threatening in different ways. However, in the exodus constituent
immunization does not focus on the precarious life, on an ontological
sameness in precariousness. Without ignoring this existential sameness
of all, constituent immunization only develops before a background of
28 See also Paolo Virno, A Grammar of the Multitude, trans. Isabella Bertoletti and
James Cascaito (Los Angeles: Semiotext(e), 2004) .
29 The movements of leaving and returning do neither lead to nor come from an
outside, but happen immanently. The exodus as radical disobedience is a refusal, a
flight in the Foucaultian and Deleuzian sense, a condition for constituting and the
'return' to the conditions of domination that have been escaped, to struggle.
268
.
.
inequality: an inequality of and in precarity. 3 0 The protective cond'it10ns
that make the lives of some people possible are also those that make and
maintain it as a precarious one in inequality for many.
In the current climate of neoliberal conditions of precarization the
European movements of the precarious, such as the EuroMayDay
Movement, but also the movement of the Intermittants in France,31
provide with their production of knowledge and their activism sp ects
of a constituent immunization. They turn away from the pohtics of
identity and representation in order to invent new political forms and
practices. This constituting of the European precarious is looking for
the common and not for community, starting with the differences and
hierarchies among the precarious ones themselves.32
The constituent immunization of the precarious attempts to let the
established mechanisms of domination run empty again and again
through refusal and recomposition, through exodus and constituting.
This happens especially through transnational discussions about pre
carization. 33 What is important is that the precarious do not merely
strive to protect themselves and others against precarity, prevent pre
carization, or view it only as a threat. They highlight the conditions
of subjection, but also emphasize the new forms of subjectivation.
Although these new ways of self-government are precarious, they do
not fit into a logic of immunization that is one of fear, obedience and
subjection, but point towards new experiences and a new knowledge,
towards ways in which an other life might be possible.
269
Gerald Raunig
After Community: Condividuality
Which with for the many? Which form can the concatenation of
singularities assume without melting into one? Which terminology is
suitable for this specific form of concatenation that insists on separation
and sharing without presenting the sad figure of a sacrifice? Finally,
how do these social and conceptual singularities concatenate without
being degraded into smoothing lubricants for the transformations of
capitalist modes of production?
There is no perfect and meta-historical solution for these questions,
even if concepts like that of community seem to promise it - even in the
form of an affronted, unavowable, inoperative or coming community.
The problems with the etymologies of community and related concepts
are already there before and beyond their allusions to totalitarian com
munities like the Volksgemeinschaft or the problematic dichotomy of
individual and community: on the one hand they adhere to uncritical,
identitarian, sometimes even totalitarian forms of composition, on the
other they remain bound to the mode of reduction, subtraction, con
tribution. And even where both aspects are dialectically linked - such
as in the writings of the Italian philosopher Roberto Esposito - they
remain stuck on this side of communion. The conceptual branch of
the common, the commune, the community, the communal, even of
communism itself, thus becomes just as questionable as the Marxist
terminology of the political composition (as opposed to the technical
composition of capital) or collectivity.
How can transversal forms of the concatenation of singularities be
imagined and termed in contrast to this without individualizing and
stratifying or totalizing singularities? I think it is only possible by looking
for a new terminology that takes both components into consideration
as explicit conceptual components: the component of the singular, an
affirmative mode of separation, and the component of composition,
of concatenation, of the con-. Yet these kinds of conceptual and social
actualizations of the concatenation will be less invented as an outside
of contemporary modes of production, but rather in their rampant
middle.
271
1.
quibus conformia sunt, unum dividuum sunt. Ac per hoc neutrum illorum,
quibus conformia sunt illa que sunt, individuum est. Si enim dividuum fadt
First, I would like to concentrate on the last part of the last sen
from the fact that Gilbert was probably the first Christian theologian of
the Middle Ages, who was able to acquire more extensive knowledge
commentaries, his
being, which was not yet limited to the human personality in the
and unlike Abelard, for instance, Gilbert was not condemned during
in a sense, incomparable.
For our question, however, it is the first part of the sentence that is
similarity makes the individual. " Gilbert introduces a concept here that
precedes the
individual.
Gilbert became well known primarily through his commentary on
unum dividuum is
which is, and that through which this being - Gilbert
would write: this subsistens " conforms ", i.e. shares its form. Here it
De
Trinitate there is a passage that not only raises several issues about
Study of Gilbert Porreta 's Thinking and the Theological Expositions of the Doctrine of
similarity
the Incarnation during the Period 1130-1180 (Leiden: Brill, 1982), especially p. 25
ff.; consider here also the term participatio (p. 48) and the three different modes of
conjunction: appositio - compositio - commixtio (p. 53.).
2 August Neander, Allgemeine Geschichte der christlichen Religion und Kirche, Vol.
10 (Gotha: Perthes, 1845): p. 899.
272
3 Quoted from Klaus Jacobi, "Einzelnes, Individuum, Person", eds. Jan Aertsen,
Andreas Speer, Individuum und Individualitii.t im Mittelalter (Berlin, New York: de
Gruyter, 1996): p. 13.
273
2 . Nietzsche's Dividuum
time, link it with other dividuals that are similar in their components.
some
Conforrnitas, conformity, does not imply sameness, total
unum
dividuum.
More well known and more consequential in the history of philosophy
than the invention of the dividual, is Gilbert's differentiation of
individuality, singularity and personality. With Boethius, the concepts
of the singular and the individual are still used congruently. With Gilbert,
on the other hand, it becomes clear that the concept of singularity has
a different and broader field of application than that of individuality.
Singularity is basically the foundational concept that is Gilbert's
starting point. Somewhat earlier in his Boethius commentary, before
introducing the dividual, Gilbert writes: "We want to distinguish [ . . . ]
A property of something is called 'singular', 'individual' or 'personal'
for a respectively different reason. For everything that is an individual
is singular, and everything that is a person is singular and individual,
but not every singularity is an individual, and not every singularity or
every individual is a person. "4
Whereas individuality and its component of dissimilarity emphasizes
the respectively being-different, the demarcation from everything else,
ality thus tends towards the construction of the closing off of the self
and the other, singularity emphasizes the plurality and the con-formity
unalterable as being the fault of the fact that " during the brief lifetime
of all that is. According to Gilbert, singularities are 1 . more than indi
to erase the imprinted script of many millennia. " Following from this,
274
275
Yet I could also tell the story quite differently, something like this: in
discussions with friends and colleagues9, recently we have more and
more frequently run into the limitations of the concept of community
and traces of the etymological genealogy of the com-munitas: the
common munus implies either an identitary figure of protection or a
figure of tribute and sacrifice. Against the background of this deep
rooted problem, I thought about conceptual alternatives that express
both components as well, separation and sharing, like the French term
partage or the German term Teilen, but express them explicitly.
Around the same time, I translated a few smaller texts by the Italian
philosopher Paolo Virno from Italian into German. In several places
I ran into a word that was initially unfamiliar to me. By tripping this
way in the translation process, I became aware of the conceptual
components, an insight that would probably not have been accessible
to me without this tripping in a foreign language: condivisione is not
a particularly strong word; in everyday Italian it stands for shared
use and relationship. Yet its components, as I quickly realized, were
almost exactly those that I had been revolving around for some time.
Con-divisione means both, and it expresses both explicitly and with
8 Ibid. , p. 42.
9 Initial impulses were primarily Isabell Lorey's post-doctoral dissertation Figuren
des Immunen (Ziirich: diaphanes, 2011) and the research projects and events of the
Zurich Institute for Theory on the topic of community, most recently the conference
"Community - perhaps?" with Jean-Luc Nancy and many others, 12-14 March
2010.
276
277
278
20 Ibid.
279
Notes on Contributors
1998) . He took part in ex.e. r.ce 2008 program in Centre choregraphique national
Montpellier, 6m1L extenssion project in 2009 in Performig Arts Forum and sev
eral other reseach and education projects: IWBWWMI project - Lisbon 2007,
Mobile Academy - Warsaw 2006, City Stage
mer Academy of Performing Arts - Sofia 1999 & 2001 . Since 2000, his work was
presented in different festivals and art centers in Europe and abroad. He col
laborates with Ana Vujanovic, Xavier Le Roy, Eszter Salamon, Bojana Cvejic,
Olivera Kovacevic-Crnjanski and others. He is initiator and program director of
Per.Art - an organization that deals with production and promotion of perform
ing arts in Serbia (2005) and he is the author and leader of the program Arts
and Inclusion for mentally disabled people (since 1999) . He was director of bian
nual dance festival Balkan Dance Platform 2009 and Nov.pies - contemporary
dance festival in 2010 and 201 1 in Novi Sad and co-curator of IN-presentable
2009 festival in Madrid. Asentic is a fellow artist of Akademie Schloss Solitude
in Stuttgart in 201 1/20 1 3 .
Gabriele Brandstetter i s co-director o f the International Research Centre " Inter
weaving Performance Cultures" and Professor of Theatre and Dance Studies at
Freie Universitat Berlin since 2003. Her research focus is on: History and aesthetics
281
of dance from the 1 8th century until today, theatre and dance of the avant-garde;
Humanities research fellowship for his book Martha Graham in Love and War:
the Life in the Work (Oxford University Press, 2012) . In 201 1 he received the
DFG, and in 201 1 the Federal Cross of Merit of the Federal Republic of Germany.
in Dance. In 2008 he was Valeska Gert Visiting Professor for Dance And Per
books include: Excursion for Miracles: Paul Sanasardo, Donya Feuer, and Studio
for Dance, The Work of Dance: Labor, Movement, and Identity in the 1 930s,
Mention), Dance as Text: Ideologies of the Baroque Body, and The Dancing Body
Masse (2007, co-eds. B. Brandl-Risi, K. van Eikels), Tanz als Anthropologie (2007,
spectives, and co-edited Acting on the Past: Historical Performance Across the
Festival, the Berlin Werkstatt Festival, Getty Center, Montpellier Opera, Toulon
Art Museum, and Akademie der Kilnste (Berlin), and in many New York and
San Francisco venues. He will join the faculty of Temple University in 201 3 to
lications include The Male Dancer (1995, revised 2007), Alien Bodies (1 997),
Judson Dance Theater (2006) , and, with Valerie Briginshaw, Writing Dancing
Together (2009). In 1999 he was Visiting Professor at the Department of Perfor
mance Studies, New York University, and also teaches at PARTS in Brussels.
University, Giegen where he received his diploma in 2008. As an assistent for the
dance and performance also as dramaturge and performer. She has published
in performing arts, music, philosophy journals, magazines and anthologies and
Gabriele Klein is Professor for Sociology of Movement and Dance at the Univer
is author of two books, most recently Beyond the Musical Work: Performative
practice. Belgrade: IKZS, 2007. With Jan Ritsema she has developed a theatre
and has collaborated with X. Le Roy, E. Salamon, M. Ingvartsen a.o . . Her own
Dance [and] Theory (2013, with G. Brandstetter), Emerging Bodies (20 1 1 , with
most recently Mozart's Don Giovanni (BITEF, Belgrade). Cvejic has been active
(2005, with W. Sting), Electronic Vibration (1 999, 2 . Edition 2004) . See: http://
sity in London. Since September 2009, she is teaching contemporary dance and
mance Studies Hamburg) and took over the MA Choreography and Performance
Mark Franko is Professor of Dance and Director of the Center for Visual and
of art. She is a member of the editorial boards of the journals Maska, Amfiteater,
and Performance Research. She published four books, among them Impossible
282
283
und politisches Handeln. " fkw. Zeitschrift fur Geschlechterforschung und Visuelle
liams College (2000) , and Brown University (2004) . Visting Fellow at Institute
Interweaving Performance Cultures, Freie Universitat (2009) . Independent
Erin Manning holds a University Research Chair in Relational Art and Philosophy
curator for venues such as Haus der Kunst, Hayward Gallery, and Haus der
Kulturen der Welt, among others. Curator of the festival IN TRANSIT - Haus
also the director of the Sense Lab (www.senselab.ca), a laboratory that explores
der Kulturen der Welt 2008 / 2009. Lectures delivered include Tate Modem,
the intersections between art practice and philosophy through the matrix of the
sensing body in movement. In her art practice she works between painting, fabric
and Museo Reina Sofia. His writings appear in The Drama Review, Performance
and sculpture. Together with Brian Massumi she founded the journal INFLeXions:
Research, October, among others in Europe, South America, the Middle East,
and the United States. In 2008 he received the International Art Critics Associa
under the title Technologies of Lived Abstraction dedicated to the collective explo
tion (USA section) Award for "Best Performance" for his co-curatorial and direc
ration of new ways of bringing philosophical and artistic practices into mutually
beneficial interaction. Her writing addresses the senses, philosophy and politics,
edited the anthologies Of the Presence of the Body. Middletown, CT: Wesleyan
UP, 2004. The Senses in Performance (with Sally Banes). New York: Routledge
ciplinary framework moving between dance and new technology, the political
2006; Planes of Composition: Dance, Theory and the Global (with Jenn Joy).
cinema, animation and new media. Her book publications include Relationscapes.
His book, Exhausting Dance: Performance and Politics o fMovement. New York:
and Postcolonial Studies at the Faculty for Social Science, and habilitation in
his book publications are Laclau. A Critical Reader (ed. with Simon Critchley)
philosophy at the University of Vienna and political theory and disourse analysis
political science at the Vienna University. 200 1 -2007 assistent professor for
Gender & Postcolonial Studies at the University of the Arts Berlin. Her book on
versity Press, 2007. A revised version has been published in German as Die
zation entitled Figuren des Immunen. Elemente einer politischen Theorie was
Randy Martin is professor and chair of the department of art and public policy
at the Tisch School of the Arts, New York University where he directs the
transcript, 2009. "WeiBsein und die Auffaltung des Immunen: Zur notwendigen
Act: The Embodied Self. New York: Bergin & Garvey, 1990. Sodalist Ensembles:
as
Political
ferenz. Eds. Bettina Bock von Wiilfingen, and Ute Frietsch. Bielefeld: transcript,
Theater and State in Cuba and Nicaragua. Minneapolis: Minnesota UP, 1994.
Critical Moves: Dance Studies in Theory and Politics. Durham: Duke UP, 1998.
On Your Marx: Relinking Sodalism and the Left. Minneapolis: Minnesota UP,
284
285
Salamon (Munich: epodium). In 201 1 Sabisch receives the award for dance
studies NRW by the Tanzarchiv Cologne & the Ministerium for Innovation, Sci
ence & Research. http://www.verandaproduction.net
Gerald Siegmund is professor for Applied Theatre Studies at the Justus-Liebig
University in GieBen. He studied Theatre, English and French Literature at the
Goethe University in Frankfurt/Main where he also received his PhD with a
thesis on Theatre as Memory (Theater als Gedachtnis, Tiibingen: Narr, 1996) .
In 1998, he joined the staff of the Department of Applied Theatre Studies at the
University in GieBen where he took his Habilitation in 2005. His second book,
Abwesenheit. Eine performative Asthetik des Tanzes ("Absence. A Performative
Aaesthetics of Dance") took issue with performance's contemporary fixation
on the notion of presence argueing instead for a notion of absence as a site of
critical engagement. It includes in depth studies on the works of Jerome Bel.
the senses, in particular in the context of new media art and technology; and
Xavier Le Roy, Meg Stuart, and William Forsythe. Between 2005 and 2008 he
the rise of preemptive politics. His book publications include Parables for the
nal for performing arts theory. Her particular commitment is empowering the
independent scenes in Belgrade and Yugoslavia (Druga scena) . She lectures
and gives workshops at various universities (in Belgrade, Amsterdam, Madrid,
GieBen, etc.) and within numerous independent programmes. She engages in
artworks in the fields of performance, theatre, dance and video, as drarnaturge,
co-author and collaborator. She publishes regularly in journals (TkH, Maska,
Frakcija, Teatron, Performance Research . . . ) and collections; and is author of
the books: Destroying Performance Signifiers, An Introduction to Performance
Studies with A. Jovicevic, and Doxicid. In recent years her research interest has
been focused on the intersections between performance and politics in neolib
eral capitalist societies (Vita performactiva) , and she is currently running two
research projects: Performance and the Public (Les laboratoires d' Aubervilliers,
Paris) and Escenas discursivas (Matadero / El Ranchito, Madrid) . http://www.
anavujanovic.info/
Baehr, Gilles Deleuze, Juan Dominguez, Felix Guattari, Xavier Le Roy & Eszter
286
287