By Gabriele Klein
The inspiration of "worldmaking" is predicated at the concept that the realm isn't given, yet particularly produced via language, activities, rules and notion. This number of essays takes a better test hybrid and disparate worlds regarding dance and choreography. Coming from a wide variety of alternative backgrounds and disciplines, the authors inquire into the methods of manufacturing dance worlds: via inventive perform, discourse and media, choreographic shape and dance fabric. The essays during this quantity significantly mirror the major topos of dance as anything fleeting and ephemeral―an embodiment of the opposite in modernity. furthermore, they exhibit that there's greater than only one common "world of dance", yet quite a large number of interrelated dance worlds with extra rising each day.
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Additional info for Emerging Bodies: The Performance of Worldmaking in Dance and Choreography
Example text
Surely the complexity and scale of what makes life and what ails it can seem incomprehensible, unmovable, impermeable. Yet attention is repeatedly paid to those small rooms where such generalized harm was meted out, the meetings where decisions were made to war, to expropriate, to enclose. Dance offers a different intimacy of attention, an alternative somatization of risk, a sustainability of difference, a mutuality of debt that can also be shared, leveraged, embraced. We are living an excess that breeds so much scarcity.
Understandably, dance that is considered both experimental and speculative draws upon some of the very metrics of risk association with the expansion of rampant managerialism and burgeoning financial investment. The movement in question would share a social kinesthetic whose political effects it could not fully master. Dance work in these newly blossoming urban scenes would be flexible in ways that managerial humanism with its focus on quality circles, teams, B ETWEEN I NTERVENTION AND UTOPIA | 41 and other intimate ensembles would come to celebrate (cf.
This ongoing mobilization, is made legible in performance but also seemingly brought to an end by it, the critical presence thereby assembled passes from history as a constitutive to its own historical trace of the event past. That the dance unleashes its physicality as a practical capacity to assemble, also speaks to the movements elsewhere, the mediations, or social-corporal media through which a danced idea percolates through the world. The dance of politics is not a prelude to its becoming reality, but rather, a realization of its operations, its play of script and inscription, the images that form on its bodily materializations.