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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

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

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

a project to be pursued by listening to the gendered other, avoiding the traps of assimilating and appropriating the other. For lucid discussions of Lacan on sexual relations see Slavoj Žižek: The Plague of Fantasies, London: Verso 1997; Elisabeth Grosz: Sexual relations, in: Jacques Lacan. A Feminist Introduction, London/New IRREVERENT TANGOS: DANCING ’LOVE‘ AND THE POLITICS OF PARODY 245 This lusty aspect of sexuality, and its naughty moral connotations, is precisely what keeps pulsating, as it were, exposed and disavowed in

Pitfalls of ‘the Political.’ Politization as an Alternative Tool for Dance Analysis? FRANCO BARRIONUEVO ANZALDI I. INTRODUCTION In recent dance studies dance is sometimes seen as something inherently politi- cal. This trend has been important insofar as it sensitized practitioners, theorists and government agents alike to reflect on dance in terms of power effects and of its implications for social order. But as André Lepecki observed, this ‘consensual saturation’ might inflate the meaning of ‘the political’ (Lepecki in this volume). As I would add

Resilient Bodies, Stirred. Political Anecdotes from the Field of Contemporary Choreography MARTIN NACHBAR Making and performing dance, I have never been too concerned about these dances being political. To me, there is something very pragmatic about making dances and about choreographing: the need to organize time, space and money to work; the desire to work with people that intrigue me; the question how to spent time with them in a way that will be somewhat productive in terms of making dances or choreographing; the urge to not let any sensation