Reflective Journal

28.09.2019

About the essay topic and process: Based on Victoria Perez Rojo, and paraphrasing Lady Gaga: Make sure I’m not stuck in a bad romance.

I start to question why we – as a group – do not include discussions of pop (cinema, music) besides what is considered “high art”. I don’t believe so much in such distinction. The impact of pop is huge, it can reach much further then art that is confined in galleries and museums e.g

Antropophagy: could the Amazonizing project contain a methodology of incorporating my classmates points of view collected through interviews, like in “4 choreographic portraits” by Christine de Smedt?

The Oracle Dance and the The Amazonizing Project as feminist ventures: they escape the western male, white, hetero rationality, as Ana Vujanovic says about post-dance in her text “A Late Night Theory of Post-Dance, a selfinterview”.

Choreography as the act of creating conditions that propose a different organization of things, making a performance a disruption of the power of the disciplinarian authority (Foucault), making the engagement into performance practices inherently political. (see Hanna Arendt)

In “Dead Class” (1972), Kantor exposed the dispositive of Foucaultian disciplnarian authority by corporifing it by materializing his thinking process whilst directing actors on stage. The stage itself is already a break from disciplinarian authority, but he is the first (??) to zoom into it once more and “hacking” the system from within, subverting it by revealing. And he did it in the 1970s, before having the postmodern deconstructive tools. He started experimenting with manequins on stage in the 1950s and, in Dead Class he uses them as a way to fix in time the youth of the actors on stage, referring to a childhood one can never return to, i.e. one can never return to a state of “undiscipline”. The fixity of the manequins reinforce the paradox of the process of subjectification throughout which one becomes more apt to live in the frame of a specific society in a functional and “productive” way and, at the same time, becomes more sujugated to what S. Zizek calls “The Other”. keywords: Foucault, Zizek, new materialism, post humanism

Kantor’s dead class is created after he experimented with what we naow call happenings and performance art. Why did he engage with the “dead medium”? Manifest of the Theatre of Death? See “Impossible is Real at the Seashore” bt Dorota Sosnowska

“Art is inherently political because it is an activity that renders inactive and contemplates the senses and habitual gestures of human beings and into so doing opens them up to a new potential use.” (Agamben, 2008)

“Crucial to Hewitt’s position is his insistence that a “choreographic” relationship between art and politics should be seen as being strictly “antimetaphorical”: choreography should not be understood as an image, an allegory or metaphor thanks to which a certain understanding of politics could be derived. Rather choreography is, in itself, the very matter, the very matrix of politics’ function: “its disposition and manipulation of bodies in relation to each other”. Andre Lepecki – Dance and Politics – Dance [and] Theory, Gabrielle Brandstetter, Gabrielle Klein

“How can dance – as theory of practice and/or practice of theory – be placed within the tradition of an aesthethically grounded (postcolonial) critique of the Enlightment, a critique of rationality, technology, science at universities without constructing binarities, and without marking dance as the Other of modernism, therefore both marginalising and enhancing its standing? – Dance [and] Theory, Gabrielle Brandstetter, Gabrielle Klein

“…..a arte seria responsável pela ativação de verdadeiras “partições do sensível, do dizível, do visível e do invisível”, que, por seu lado, ativariam “novos modos coletivos de enunciação” e de percepção, que, por sua vez e consequentemente, criariam insuspeitados vetores de subjetivação e de novos modos de vida (Rancière, 2010, p. 173).Tais partilhas e distribuições do sensível surgem, de modo quase imanente, graças à particular força expressiva do objeto artístico no regime estético das artes. Daí a relação estreita, quase inextricável, entre arte e política na contemporaneidade. Avançando mais um conceito, bem familiar aliás, de Rancière, o “elemento” que funde arte e política num só ser seria aquilo que Rancière chama de “dissenso”. Para Rancière, “se existe uma conexão entre arte e política, ela deve ser colocada em termos de dissenso – o âmago do regime estético” (Rancière, 2010, p. 140). Esse âmago tem uma dinâmica; é em si mesmo dinâmico, cinético, no sentido de que dissenso produz a ruptura de hábitos e comportamentos, e provoca assim o debandar de toda sorte de clichês: sensoriais, de desejo, valor, comportamento, clichês que empobrecem a vida e seus afetos.” – Coreopolítica-coreopolícia André Lepecki