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The Politics of Time BOJANA KUNST I. Since contemporary post-politics renounces the constitutive dimension of the po- litical, many philosophers see the political as within a deep caesura that, accord- ing to Chantal Mouffe (2005), takes place as an ontic/ontological difference. She therefore proposes a differentiation between ‘politics’ and ‘the political,’ politics concerns daily political practices within which order is created while the political concerns the manner of constituting society with antagonism as an essential characteristic. The

Dance and Politics INTRODUCTION BY ANDRÉ LEPECKI As a starting point for the panel Dance and Politics, a simple statement of fact: it seems incontrovertible that over the past few years we have been witnessing a recuperation of a quasi-ontological association between art and politics, thanks mainly to the writings of Jacques Rancière and Giorgio Agamben. This associa- tion, derived from the identification of a certain regime of the arts Rancière has called “the aesthetic regime” (Rancière/Corcoran 2010: 173), would promote “partitions of the sensible

The Politics of Collective Attention Rudi Laermans Imagine we are in a small theatre venue somewhere in Western Europe. It’s 8.30 pm, the lights are dimmed, the performer steps in the direction of the proscenium, takes his or her place behind a lectern and starts talk- ing. That’s all that seems to happen in the eyes of all those present. Yet, something different also happens, and it is most of the time overlooked by those who are looking at a stage. Precisely because their sensory attention is absorbed by the action on the stage, those present do not notice

Revolutionary Dramatists and Theatrical Practices

Dancing Politics: Worldmaking in Dance and Choreography GABRIELE KLEIN I. Dance is a world in itself – this is a central figure of discourse since the beginning of the 20th century, i.e. the period in which modern industrial society was established.1 As a world of the body and the senses, of movement and feelings, as a world of metaphors, for which words fail us, dance in the modern age, according to the modern dance discourse, constitutes an alternate world, namely a world beyond language and rationality. In the 20th century, dance, regardless of

Between Intervention and Utopia: Dance Politics RANDY MARTIN SOCIALIST ENSEMBLES Myriad are the intersections that locate dance in the realm of the political. The conceptions of who can move for what, the conventions by which people gather, the spaces made available, the training and preparation, notions of embodiment – all bear upon dance, and constitute the field of forces and constraints through which it is borne into being. Yet dance also makes its own politics, crafts its own pathways and agency in the world, moves us toward what we

Politics of Touch Körper, Berührung, Kritik Fanti Baum Es gibt nicht »den« Körper, es gibt nicht »das« Berühren, es gibt nicht »die« res extensa (Jean-Luc Nancy)1 Berührung: eine Geste, abwesend und zugleich doch da, spürbar hinterlässt sie kaum Spuren, ist sie im selben Maße eine bewusste Entscheidung, gerade nicht zu fassen, zu greifen, zu packen (oder gar zu verstehen), sondern zu berühren. Die Be- rührung steht gewöhnlich auf der Seite des Sinnlichen, und zwischen res cogitans und res extensa würde sie klar den Phänomenen der körperlichen Erscheinungen

The Baltic Way as a Political Performance of Subjectivization1 STEVE WILMER On 23 August 1989, a 600 km human chain linked Tallinn, Riga and Vilnius to condemn the Ribbentrop-Molotov pact on its 50th anniversary. It was a symbolic performance uniting three republics of the Soviet Union in an extraordinary act to denounce the Soviet occupation of these three independent nation-states in 1939 and to demand restitution of their sovereign rights. As an embodied performance of national as well as transnational solidarity, it challenged the Soviet interpretation

Dance and Work: The Aesthetic and Political Potential of Dance BOJANA KUNST MOVEMENT BURSTING ON THE DIVIDING LINE The first film ever made captured the movements of the workers of the Lumière factory collectively surging through the factory gates upon leaving their workplace at the end of the day (1895). This same film also opened the perfor- mance 1 poor and one 0 by BADco., a Zagreb-based performance group1. This mass exodus from the factory not only marks the beginning of cinematic history, but also the problematic relation between cinema and

The Global Politics of Faustin Linyekula’s Dance Theater From Congo to Berlin and Back Again via Brussels and Avignon Sabine Sörgel Faustin Linyekula and Studios Kabako, Kisangani Faustin Linyekula grew up in Kisangani, in the north of ex-Zaire – today’s Democratic Republic of the Congo (DRC). He is the son of a Catholic father, who enrolled in a Belgian missionary school, and grandson to an African mulenge (traditional healer). Linyekula considers himself a contemporary choreographer who chooses from various sources including dance, theater, poetry, and