By Judith Hamera (auth.)
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Extra resources for Dancing Communities: Performance, Difference, and Connection in the Global City
In this view, desire, seduction, and longing will out, indeed must be acknowledged and even indulged if we are to theorize the interpersonal and communal power of performance. Here: performance performs like a promiscuous lover. Enticing this one and that one, wanting everyone to love her and wanting to love everyone in return. She seeks and she is sought. Indiscriminate in the pleasure she gets and gives, there is a natural striving for her, and through all her encounters and travels, there are those who speak 38 Dancing Communities of her very well and there are others who live cautiously inside her presence.
Like movement with and around other bodies, these labors organized and enabled by technique are practices of everyday urban life. As Celeste Fraser Delgado and José Muñoz observe, they bring ‘people together in rhythmic affinity where identification takes the form of histories written on the body through gesture’ (1996: 9). Through technique and its tactical redeployments, ‘a shifting sense of community is configured and reconfigured – day after day and night after night’ (9). Thus, while the protocols of dance technique map and organize bodies, and bind them together in socialities with strategic ambitions, they also serve banal and daily relational duties.
But this is nothing at all: let us now imagine reintroducing into the politico-sexual field thus discovered, recognized, traversed and liberated a touch of sentimentality: would that not be the ultimate transgression? the transgression of transgression itself? For, after all, that would be love: which would return: but in another place’ (in Pollock, 2001: 203). I want to argue for the social force and utility of a possessive love of performance, one characterized by, indeed demanding, giving and taking, seduction, longing and assimilation – love in another place of spectatorship – the realm of the vicarious.