Professor, Department of Performance Studies, Tisch School of the Arts NYU Associate Dean, Center for Research & Study, Tisch School of the Arts, NYU Address: New York, NY
Through a close analysis of recent works by experimental choreographers from Brazil, the United S... more Through a close analysis of recent works by experimental choreographers from Brazil, the United States, and Europe, this chapter discusses the uses of speculation and imagination as choreopolitical tools used to bypass the introjection of censorship typical of contemporary societies of control. The kinetic expression of such introjection is defined as an act of choreopolicing. By proposing that the refusal to give something to view must be taken as a fully affirmative gesture in experimental choreography, the chapter further proposes that imagination has become the realm through which one may resist the “creative impetus” characteristic of cognitive and affective capitalism.
Through a close analysis of recent works by experimental choreographers from Brazil, the United S... more Through a close analysis of recent works by experimental choreographers from Brazil, the United States, and Europe, this chapter discusses the uses of speculation and imagination as choreopolitical tools used to bypass the introjection of censorship typical of contemporary societies of control. The kinetic expression of such introjection is defined as an act of choreopolicing. By proposing that the refusal to give something to view must be taken as a fully affirmative gesture in experimental choreography, the chapter further proposes that imagination has become the realm through which one may resist the “creative impetus” characteristic of cognitive and affective capitalism.
In her bo ok Pornography, the Theory (w hich is tellin g ly subtitled, "What Utilitarianism Did t... more In her bo ok Pornography, the Theory (w hich is tellin g ly subtitled, "What Utilitarianism Did to Action") literary th e orist Frances Ferguson advances the m ain reason w hy pornography is a key en tryw ay in to the ration ality that produced m o d ern ity and its corporeal realities: "por-nography raised issues for modernity that were not being addressed" by oth er d isciplin es or practices. For Fergusson, on e o f the m ain issues that pornography raised, is that w h en "talking about pornography" one is also and inevitably and always talking about those 'basic techniques developed by utilitarian philosophers [such as David H um e and Sam uel Bentham ] and practitioners that w ere designed to capture actions and give them extreme perceptibility." (p. ix). Now, I could not th in k o f a b etter d efin itio n o f chore-ography, w h ich in d eed can be described as a "techn ique designed to capture actions and give them extrem e 67
André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of 'perfo... more André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of 'performance' in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five 'singularities' in contemporary dance: thingness, animality, persistence, darkness, and solidity. Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, Jérôme Bel and others, Lepecki uses his concept of 'singularity'—the resistance of categorization and aesthetic identification—to examine the function of dance and performance in political and artistic debate. -- Available June 28, 2016. Published by Routledge.
Interview with Franz Anton Cramer on the occasion of curating the festivals IN TRANSIT 2008, and ... more Interview with Franz Anton Cramer on the occasion of curating the festivals IN TRANSIT 2008, and IN TRANSIT 2009, at HKW (Haus der Kulturen der Welt), Berlin.
In this podcast produced by MACBA, André Lepecki talks about the chronopolitics of disappearance,... more In this podcast produced by MACBA, André Lepecki talks about the chronopolitics of disappearance, dance, Louis XIV, the acquisition of choreography, testimonial power, object-oriented ontologies, choreopolicing, the writing of movement, and selfies. Feat. exclusive music by Morten J. Olsen.
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