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Diffractive Co-conspiracy in Queer, Crip Live Art Production
Performance Research Pub Date : 2021-03-09 , DOI: 10.1080/13528165.2020.1868850
Beck Tadman

While equality, inclusivity, diversity and accessibility now regularly appear in mainstream discourse, the UK’s Equality Act (2010) paradoxically preceded a year-on-year increase in recorded cases of hate crime and discrimination based on protected characteristics such as (perceived) gender identity, sexuality and disability (Home Office 2019). A hostile environment is manifest through the ongoing cuts to Universal Credit (Schraer 2020) and the trans moral panic (Barker 2017) around the Gender Recognition Act, creating urgent times (Haraway 2016) in need of response-able address.

These trends suggest that visibility and “awareness raising” are no panacea for discrimination, a matter requiring urgent critical attention. Using the lens of my research around LGBTQIA+ (queer), disabled-led (crip) live art as disidentificatory praxis (Muñoz 1999) I demonstrate how the emerging feminist new materialist methodology of co-conspiracy (de los Santos-Upton 2017) is already being effectively applied by performance art professionals to revolutionise the industry. This diffractive, response-able methodology and praxis has the potential to expose and resist the structural, institutional, political, environmental and social inequalities that queer, disabled individuals continue to face. My multimodal interdisciplinary analysis provides insight into the precarious alterity of queer, crip live artists in continuingly inaccessible/impenetrable social and artistic settings and the emancipatory political potential of applied diffraction as an action oriented rhizomatic ontology.

Dissecting the entangled nature of queerness and disability, of in/visibility and making the personal public as many queer disabled artists do, this paper explores the tensions in producing radically challenging, self-exposing works that also serve as affective and affirmative provocations, poignant acts of resistance and of defiant survival. Unpacking how queer, crip identified live artists reconfigure connections by building and sharing productive tools to disassemble politics and practices of exclusion, this paper posits that diffractive co-conspiracy might be used as a productive methodology to create revolutionary communities of practice able to resist the commodification and commercialisation of live art production and wider social and political marginalisation.



中文翻译:

在Querer中进行共谋的共谋,Crip Live艺术作品的制作

尽管平等,包容性,多样性和可及性现在经常出现在主流话语中,但英国的《平等法》(2010年)自相矛盾地是,基于(感知到的)性别认同等受保护特征的仇恨犯罪和歧视案件记录的同比增长,性与残障(内政部2019)。围绕《性别认同法案》的持续削减普遍信贷(Schraer 2020)和跨道德恐慌(Barker 2017)表现出一种敌对的环境,这造成了紧急时刻(Haraway 2016),需要能够回应的解决方案。

这些趋势表明,可见性和“提高意识”并不是歧视的灵丹妙药,这一问题需要紧迫的关注。使用我围绕LGBTQIA +(酷儿),残疾人主导的(现场表演)现场艺术作为区别性实践的研究视角(Muñoz,1999年),我展示了新兴的共谋女性主义新唯物主义方法论(de los Santos-Upton,2017年)被表演艺术专业人士有效地应用,以彻底改变该行业。这种差异化,可回应的方法论和实践有可能揭露和抵抗残酷残障人士继续面临的结构,制度,政治,环境和社会不平等现象。我的多模式跨学科分析提供了对酷儿的pre可危变化的见解,

剖析酷儿与残疾,隐形/可见性的纠缠性质,并像许多酷儿残疾艺术家一样使个人大众化,本文探讨了在产生具有挑战性,自我展示性的作品中的紧张关系,这些作品还可以起到情感和肯定的挑衅,凄美的举动抵抗和抵抗生存。通过构建和共享生产性工具以分解政治和排挤行为的实践,残酷,残酷的现场艺术家如何重新构造人脉,本文提出,衍射共谋可能被用作生产性方法,以创建能够抵抗商品化的革命性实践社区。现场艺术作品的商业化以及更广泛的社会和政治边缘化。

更新日期:2021-03-09
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