Hostname: page-component-76fb5796d-skm99 Total loading time: 0 Render date: 2024-04-26T18:02:18.318Z Has data issue: false hasContentIssue false
  • English
  • Français

Im/possible Choreographies: Diffractive Processes and Ethical Entanglements in Current British Dance Practices

Published online by Cambridge University Press:  12 December 2019

Daniela Perazzo Domm
Get access Rights & Permissions [Opens in a new window]

Abstract

This article considers the ethico-aesthetic potential of British choreographic practices that respond to questions raised by the current sociopolitical moment by staging im/possibilities and dis/orientation and by envisioning alternative understandings of the present. It embraces Karen Barad's new materialist onto-epistemology as an inspiring framework to discuss the significance of choreography that troubles accepted patterns of relationality and engages in a creative-critical remapping of experience.

Keywords

agencyKaren BaradBritish choreographydiffractionentanglementethicsFevered Sleepintra-actionnew materialismCharlotte Spencer
Type
Articles
Information
Dance Research Journal , Volume 51 , Issue 3 , December 2019 , pp. 66 - 83
Copyright
Copyright © Dance Studies Association 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Barad, Karen. 2003. “Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter.” Signs: Journal of Women in Culture and Society 28 (3): 801–31. https://doi.org/10.1086/345321.CrossRefGoogle Scholar
Barad, Karen. 2007. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham, NC: Duke University Press.Google Scholar
Barad, Karen. 2010. “Quantum Entanglements and Hauntological Relations of Inheritance: Dis/continuities, SpaceTime Enfoldings, and Justice-to-Come.” Derrida Today 3 (2): 240–268. https://doi.org/10.3366/E1754850010000813.CrossRefGoogle Scholar
Barad, Karen. 2012. “On Touching: The Inhuman That Therefore I Am.” differences 23 (3): 206–223. https://doi.org/10.1215/10407391-1892943.CrossRefGoogle Scholar
Barrett, Estelle, and Bolt, Barbara, eds. 2012. Carnal Knowledge: Towards a “New Materialism” Through the Arts. New York: I.B. Tauris.Google Scholar
Bell, Amy. n.d. “Tombo(y)la.” Accessed November 7, 2017. http://tomboyla.com/about/.Google Scholar
Bennett, Jane. 2010. Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke University Press.CrossRefGoogle Scholar
Blades, Hetty. 2017. “Screendance Self/portraits.” The International Journal of Screendance 8: 93–103. http://dx.doi.org/10.18061/ijsd.v8i0.CrossRefGoogle Scholar
Burrows, Jonathan, Fargion, Matteo, and Glendinning, Hugo. 2016. “52 Portraits.” Accessed May 15, 2018. http://52portraits.co.uk.Google Scholar
Burt, Ramsay. 2017. Ungoverning Dance: Contemporary European Theatre Dance and the Commons. New York: Oxford University Press.Google Scholar
Butler, Judith, and Athanasiou, Athena. 2013. Dispossession: The Performative in the Political. Cambridge, UK: Polity Press.Google Scholar
Charlotte Spencer Projects. 2015. “Waste.” April 2, 2015. Accessed November 7, 2017. https://charlottespencerprojects.org/tag/itawl/.Google Scholar
Connolly, William E. 2013. “The ‘New Materialism’ and the Fragility of Things.” Millennium: Journal of International Studies 41 (3): 399–412. https://doi.org/10.1177/0305829813486849.CrossRefGoogle Scholar
Daddario, Will, and Schmidt, Theron, eds. 2018. “Crisis/Krisis.” Performance Philosophy 4 (1). https://doi.org/10.21476/PP.2018.41225.Google Scholar
Davies, Siobhan, Hinton, David, and Ellis, Simon. 2015. “The Running Tongue: Collaboration, Choice, and Community. Siobhan Davies and David Hinton, in conversation with Simon Ellis. Thursday 6th February 2015.” The International Journal of Screendance 5: 83–94. http://dx.doi.org/10.18061/ijsd.v5i0.Google Scholar
Deep Roots Tall Trees. 2017. “Our Woods: Is This a Waste Land?” Accessed May 15, 2018. http://deeprootstalltrees.org/our-woods/people-involved/charlotte-spencer/is-this-wasteland/.Google Scholar
Derrida, Jacques. 1994. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Translated by Kamuf, Peggy. New York: Routledge.Google Scholar
Derrida, Jacques. 2005. On Touching—Jean-Luc Nancy. Translated by Irizarry, Christine. Stanford, CA: Stanford University Press.Google Scholar
Farnham Maltings. 2015. “Greenhouse: Men & Girls Dance.” Accessed May 21, 2018. https://www.youtube.com/watch?v=jZZuMdXqinM.Google Scholar
Fevered Sleep. 2016. “Men & Girls Dance—Trailer.” Accessed May 21, 2018. https://vimeo.com/153937408.Google Scholar
Fevered Sleep. 2017. “Men & Girls Dance (London edn).” http://www.feveredsleep.co.uk/current/men-and-girls-dance/.Google Scholar
Fisher, Tony, and Katsouraki, Eve, eds. 2017. Performing Antagonism: Theatre, Performance & Radical Democracy. London: Palgrave Macmillan.CrossRefGoogle Scholar
Haraway, Donna. 2004. The Haraway Reader. New York: Routledge.Google Scholar
Harpin, Anna, and Nicholson, Helen, eds. 2016. Performance and Participation: Practices, Audiences, Politics. Basingstoke, UK: Palgrave Macmillan.Google Scholar
Jones, Amelia. 2015. “Material Traces: Performativity, Artistic ‘Work,’ and New Concepts of Agency.” TDR: The Drama Review 59 (4): 18–35. https://doi.org/10.1162/DRAM_a_00494.CrossRefGoogle Scholar
Joy, Jenn. 2014. The Choreographic. Cambridge, MA: The MIT Press.Google Scholar
Juelskjaer, Malou, and Schwennesen, Nete. 2012. “Intra-active Entanglements: An Interview with Karen Barad.” Kvinder, Køn & Forskning 1–2: 10–24. Accessed June 2, 2018. https://www.researchgate.net/publication/267863856_Intra-active_entanglements_an_interview_with_Karen_BaradGoogle Scholar
Kowal, Rebekah J., Siegmund, Gerald, and Martin, Randy, eds. 2017. The Oxford Handbook of Dance and Politics. New York: Oxford University Press.CrossRefGoogle Scholar
Lepecki, André. 2016. Singularities: Dance in the Age of Performance. London: Routledge.CrossRefGoogle Scholar
Moira House. 2013. “Appropriate Touch.” Accessed June 2, 2018. http://www.moirahouse.co.uk/wp-content/uploads/2014/11/appropriate-touch.pdfGoogle Scholar
Osborne, Peter. 2013. Anywhere or Not at All: Philosophy of Contemporary Art. London: Verso.Google Scholar
Perazzo Domm, Daniela. 2017. “The ‘making’ of movement and words: a po(i)etic reading of Charlotte Spencer's Walking Stories.” Choreographic Practices 8 (1): 111–130. https://doi.org/10.1386/chor.8.1.111_1.CrossRefGoogle Scholar
Perazzo Domm, Daniela. 2018. “Crisis and the Emotional Body: Towards (Another) Freedom.” Performance Philosophy 4 (1): 188–205. https://doi.org/10.21476/PP.2018.41196.CrossRefGoogle Scholar
Perazzo Domm, Daniela. 2019. Jonathan Burrows: Towards a Minor Dance. London: Palgrave Macmillan.CrossRefGoogle Scholar
Rancière, Jacques. 2009. The Emancipated Spectator. Translated by Elliott, Gregory. London: Verso.Google Scholar
Schmidt, Theron. 2017. “What Kind of Work Is This? Performance and Materialisms in the Gallery.” Performance Paradigm 13: 7–28. Accessed May 15, 2018. http://performanceparadigm.net/index.php/journal/article/view/191.Google Scholar
Schneider, Rebecca. 2015. “New Materialisms and Performance Studies.” TDR: The Drama Review 59 (4): 7–17. https://doi.org/10.1162/DRAM_a_00493.CrossRefGoogle Scholar
Spencer, Charlotte. 2017a. “Don't just watch dance, become part of the show, go outside, put on some headphones and perform in Is This a Waste Land?” Interview by Saunders, Savannah. The Wonderful World of Dance, May 1, 2017. Audio, 36:34. Accessed November 7, 2017. http://www.thewonderfulworldofdance.com/is-this-a-wasteland-charlotte-spencer.Google Scholar
Spencer, Charlotte. 2017b. “Is This a Waste Land?” Program notes. May 12–14, 2017. Glasgow: Tramway, Larkfield Bus Depot.Google Scholar
Thiele, Kathrin. 2014. “Ethos of Diffraction: New Paradigms for a (Post)humanist Ethics.” Parallax 20 (3): 202–216. https://doi.org/10.1080/13534645.2014.927627.CrossRefGoogle Scholar
Thiele, Kathrin. 2016. “Quantum Physics and/as Philosophy: Immanence, Diffraction, and the Ethics of Mattering.” Rhizomes: Cultural Studies in Emerging Knowledge 30. https://doi.org/10.20415/rhiz/030.e04.Google Scholar
White, Gareth. 2013. Audience Participation in Theatre: Aesthetics of the Invitation. Basingstoke, UK: Palgrave Macmillan.CrossRefGoogle Scholar