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Between Species: Choreographing Human And BETWEEN SPECIES: CHOREOGRAPHING HUMAN AND NONHUMAN BODIES JONATHAN OSBORN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO MAY, 2019 ã Jonathan Osborn, 2019 Abstract BETWEEN SPECIES: CHOREOGRAPHING HUMAN AND NONHUMAN BODIES is a dissertation project informed by practice-led and practice-based modes of engagement, which approaches the space of the zoo as a multispecies, choreographic, affective assemblage. Drawing from critical scholarship in dance literature, zoo studies, human-animal studies, posthuman philosophy, and experiential/somatic field studies, this work utilizes choreographic engagement, with the topography and inhabitants of the Toronto Zoo and the Berlin Zoologischer Garten, to investigate the potential for kinaesthetic exchanges between human and nonhuman subjects. In tracing these exchanges, BETWEEN SPECIES documents the creation of the zoomorphic choreographic works ARK and ARCHE and creatively mediates on: more-than-human choreography; the curatorial paradigms, embodied practices, and forms of zoological gardens; the staging of human and nonhuman bodies and bodies of knowledge; the resonances and dissonances between ethological research and dance ethnography; and, the anthropocentric constitution of the field of dance studies. ii Dedication Dedicated to the glowing memory of my nana, Patricia Maltby, who, through her relentless love and fervent belief in my potential, elegantly willed me into another phase of life, while she passed, with dignity and calm, into another realm of existence. iii Acknowledgements I would like to thank my phenomenal supervisor Dr. Barbara Sellers-Young and my amazing committee members Dr. Janine Marchessault and Dr. Bridget Cauthery for their generous support throughout this process. Reflecting on their engagement with me I liken them to the figures of the Fates within Greek mythology - Clotho the spinner, Lachesis the allotter, and Atropos the cutter. While it is tempting to assign specific roles, the truth is more complicated, as they each, at different times, and in different capacities, worked conscientiously, in dialogue with me and my initially fragmented interests and ideas, to spin out the threads that formed the web of meaning that suspended me during my time at York. Encouraged by this formidable triumvirate of wisdom, knowledge, and pragmatism I found myself able to invent new things that were personally, artistically, and, perhaps even, academically meaningfully. I have tried to the best of my ability to heed their advice “that the only good dissertation is a finished one” (Sellers-Young), “not to jump off any more cliffs than necessary” (Marchessault), and, to “not expect other people to understand an idea that you haven’t explained” (Cauthery). I would also like to thank Dr. Jody Berland who generously invited me to work as a research assistant on her Digital Animalities project. Through participation on her fascinating project I was exposed to aspects of human-animal studies beyond my research’s providence, met international scholars and artists, gained professional skills, and engaged in many thought provoking conversations. iv Within York’s Dance department I would like to thank Dr. Mary Fogarty, Dr. Norma Sue Fisher-Stitt, Dr. Danielle Robinson, Claire Wootten, Susan Lee, Susan Cash, Luisa Malisani, Flannery Muise, Dr. Blake Martin, Terrill Maguire, and Dr. Patrick Alcedo. Outside of my department, but still within the boundaries of York University, I would like to thank Dr. Anne MacLennan, Dr. Steven Bailey, Dr. Warren Crichlow, Dr. Susan Ingram, Dr. Heather MacRae, and Michel Diagneault, who all provided me with opportunities, professional mentoring, and engaging discussions that contributed to my research. Outside of York University, I would like to specifically thank Dr. Sally Ann Ness, Dr. Jane C. Desmond, Dr. Tracy McDonald, Dr. Daniel Vandersommers, Dr. MJ Thompson, and Dr. Matthew Brower for encouraging both my artistic work and my development as a critical thinker. Many friends were also vital to the completion of this project. They include Michelle Johnson, Carmen Victor, Jessica Bay, Mason Wales, Sebastian Oreamuno, Nadine Ryan, Danielle Baskerville, Allison Peacock, Serouj Aprahamian, Benjamin Boles, Robert Kingsbury, Alicia Zwicewicz, Hannah Schallert, Jolene Devoe, Patricia Fraser, Andrea Roberts, Helen Jones, Patricia Miner, Rosemary James, Karim Nameth, Trish Beatty, Bee Pallomina, Sarah Bezan, Richard Moszka, Juan Pablo Garcia Tames, Robert Brown, and Brian McCormack. Perhaps most crucially important were the members of my family whose encouragement was ongoing throughout the process: Victoria and Wayne Thompson, Kate Bradley, Heather Hamilton, Patrick Osborn, Chris Thompson, Matt Thompson, v Bryan Hamilton, Mike Bradley, Chrissy Thompson, Sharon and Larry Monpetit, Shaina and Lauren Montpetit, Flash and Lotus Hamilton, and Paige and Thomas Bradley. Many groups and institutions also generously provided me with funding that enabled me to realise this project. These include: The Social Sciences and Humanities Research Council of Canada, the York Centre for German and European Studies, the York Faculty of Graduate Studies, A.M.P. D., and Unit 3903 of the Canadian Union of Public Employees. Additionally, I would like to thank the Toronto Arts Council and the Ontario Arts Council for the arts funding I received to create ARK and ARCHE. I am particularly appreciative of the tremendous understanding demonstrated by Catalina Fellay-Dunbar at the Toronto Arts Council and Myles Warren at the Ontario Arts Council when my academic and artistic work collided and became entangled with one another. vi Table of Contents Abstract .............................................................................................................................. ii Dedication ......................................................................................................................... iii Acknowledgements .......................................................................................................... iv Contents ........................................................................................................................... vii List of Figures .................................................................................................................... x OVERVIEW ...................................................................................................................... 1 INTRODUCTION ............................................................................................................ 4 ANIMAL BODIES ........................................................................................................ 4 ANIMAL CONTRIBUTIONS ..................................................................................... 21 CHAPTER 1 .................................................................................................................... 33 FOUNDATIONS (1980-1990) .................................................................................... 33 PROJECTIONS (1990-2000) ....................................................................................... 43 ELABORATIONS AND INTERVENTIONS (2000-2019) ........................................ 48 RESPONSES AND REACTIONS .............................................................................. 64 CHAPTER 2 .................................................................................................................... 69 A TAIL OF TWO COUNTRIES: CHOREOGRAPHING NATIONAL IDENTITY AT THE TORONTO ZOO .......................................................................................... 69 MEMORY ................................................................................................................ 71 THE “CANADIAN DOMAIN” ............................................................................... 76 THE “CANADIAN DOMAIN” AS CHOREOGRAPHED SPECTACLE .............. 91 THE “TUNDRA TREK” .......................................................................................... 95 EXHIBITIONARY LOGICS: EMBODIED UNDERSTANDINGS ..................... 110 vii CHAPTER 3 .................................................................................................................. 120 ZOOMORPHIC BODIES: ARK AND ARCHE ......................................................... 120 ARK: MOVING AND BEING MOVED BY ANIMALS ...................................... 121 BIOTIC: 3 DANCES FROM LIFE ........................................................................ 172 POSTCRIPT TO ARK AND ARCHE ..................................................................... 175 CHAPTER 4 .................................................................................................................. 178 A BESTIARY OF MOVEMENT MEDITATIONS TO DECENTER VITRUVIAN MAN .......................................................................................................................... 178 ANCHOVIES ......................................................................................................... 181 BASKING SHARK ................................................................................................ 182 CHIROPTERA ....................................................................................................... 183 DHOLE ..................................................................................................................
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