Društvena Koreografija Tkh 21 Društvena Koreografija Sadržaj Društvena Koreografija Tkh 21 1 Društvena Koreografija

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decembar 2013. TkH časopis za teoriju izvođačkih umetnosti br. 21 Društvena koreografija TkH 21 Društvena koreografija Sadržaj Društvena koreografija TkH 21 1 Društvena koreografija

Bojana Cvejić i Uvodnik Ana vujanović

3 Tejlorizam, nacizam i Skitnica: Jeroen Chaplinova kritika društvenih ido FeDer i Plesno telo koje daje van WiJhe koreografija uModernim Shir hAChAM legitimitet državi 5 vremenima i Velikom diktatoru 45 Marko Kostanić Društvena koreografija, ili igor KOrUGA Koreografija kao analitičko društvena tenzija autonomije sredstvo za tumačenje društva 11 50 u kontekstu pozorišta Aldo Milohnić Koreografije otpora Goran Sergej Dvostruka ekspozicija 15 Pri55STAš Ana vujanović „Crni talas“ jugoslovenskog sleta: Christine De Društvena koreografija: Dan mladosti 1987. i 1988. SMeDT, Benjamin upotreba u umetničkim praksama POhliG, Saša asentić, Mette 21 inGvAr57TSen, Gabriele Klein Kolektivna tela protesta: društvene Michael Kliën, koreografije i materijalnost Steve vA lK 28 društvenih figuracija Bojana Cvejić Ples-rat randy MArTin O plesu, derivatima, dekolonizaciji 32 66 i kinestemama 2 TkH 21 Društvena koreografija Impresum Impresum

impresum TkH br. 21 TkH impresum:

Urednice TkH br. 21 TkH, časopis za teoriju Bojana Cvejić, Ana Vujanović izvođačkih umetnosti izdaje: TkH (Teorija koja Hoda) Autori: teorijsko-umetnička platforma Saša Asentić, Bojana Cvejić, Christine Kraljevića Marka 4 (Magacin) De Smedt, Ido Feder, Shir Hacham, Mette 11 000 Beograd, Srbija Ingvartsen, Gabriele Klein, Michael Kliën, Igor [email protected] Koruga, Marko Kostanić, Aldo Milohnić, Randy www.tkh-generator.net Martin, Benjamin Pohlig, Goran Sergej Pristaš, Za izdavača: Ana Vujanović Steve Valk, Ana Vujanović, Jeroen van Wijhe Glavna urednica: Ana Vujanović Prevod sa engleskog na Odgovorni urednik: Miško Šuvaković srpski, sa srpskog na engleski likovni urednik: Siniša Ilić i sa hrvatskog na engleski: Žarko Cvejić savet časopisa: Milena Dragićević Šešić, Ješa Denegri, lektura i korektura: Jovan Ćirilov, Aldo Milohnić Žarko Cvejić i Bojana Cvejić (engleski) Ana Vujanović (srpsko-hrvatski) Časopis TkH je uvršten u registar javnih glasila na osnovu rešenja br Koordinacija: 651-03-277/02-01; ISSN 1451-0707 Dragana Jovović izdanje je realizovano u okviru projekta Dizajn i prelom: TIMeSCAPES, platforme za umetničko istraživanje Katarina Popović i produkciju, koji partnerski realizuju BADco. (Zagreb), Teorija koja Hoda – TkH (Beograd), Priprema za štampu: Maska (Ljubljana), Science Communications Grafomarket studio Research (Beč) i Film-protufilm (Zagreb). Platforma TIMeSCAPES je podržana od strane štampa: programa Kultura Evropske Unije. Cicero, Beograd Finansijska podrška: tiraž: Program Kultura Evropske unije, Švajcarski 400 primeraka program za kulturu za Zapadni Balkan, Ministarstvo kulture i informisanja Republike Fotografija na naslovnici: Srbije, Skupština Grada Beograda Plesni solo Marte Paulin – Brine za partizanske borce Rapske brigade (Jože Petek, 1943.) Beograd, decembar 2013.

Časopis se objavljuje pod licencom Creative Commons Ovaj projekat finansiran je uz podršku Evropske komisije. Ova “Autorstvo-nekomercijalno-deliti pod istim uslovima 3.0. Srbija”. publikacija (komunikacija) odražava samo stavove autora i Komisija ne može biti odgovorna za bilo kakvu upotrebu koja može biti napravljena od informacija sadržanih u njoj. Uvodnik Društvena koreografija TkH 21 3 Uvodnik

Bojana Cvejić i pokretima, gestovima, držanjima ili stanjima. Ana vujanović ● ● U svojoj knjizi Druga zapažanja pronalaze u istim telesnim Social Choreography: Ideology as Performance izrazima politički ambivalentna značenja ili, in Dance and Everyday Movement (Društvena pak, ubedljivu simptomatičnost pobune. Veze i koreografija: ideologija kao izvedba u plesu nesporazumi koji nastaju spajanjem koreografije i svakodnevnom pokretu; Duke University, u umetničkom smislu s političkim nemirima Durham, NC, 2005), teoretičar književnosti u društvenom smislu zavređuju teorijsku Andrew Hewitt uspostavlja koreografiju kao pažnju. Potencijal koji tu postoji za postavljanje nov model postmarksističke kritičke analize modela ideološke kritike tek treba proučiti. ideologije. On izvodi koreografiju iz književnih tropa i plesnih tehnika kao pokušaj građanskog Ovo izdanje časopisa TkH donosi poseban niz društva da se uspostavi putem plesa kao tema, oblasti proučavanja i metoda u istraživanju estetskog ideala i matrice za novi društveni društvene koreografije u savremenoj umetnosti, poredak u književnosti, diskursima društvenih plesu i izvedbi, kao i u društvenim i političkim nauka i umetničkim praksama od 90ih godina pojavama. Većina tekstova je posebno naručena 18. do 30ih godina 20. veka. Hewitt tvrdi da je za ovo izdanje, pri čemu se autori bave: odnosom građanstvo uspostavilo izvedben vid estetske između koreografije i društvenih pokreta kroz ideologije, proizvodeći, usađujući, vežbajući povest i u današnje vreme nereda i protesta; i odražavajući društveni poredak izravno na savremenim i povesnim izrazima koreografije razini tela, na ekonomskoj osnovi proizvodnih kao oblika estetske ideologije; društvenom odnosâ i snagâ, istovremeno materijalnih, koreografijom u izvedbama javnog prostora društvenih i estetskih. Za istoriju ne samo oblikâ (Milohnić, Vujanović); koreografijom, plesom i već i funkcijâ ideologije, društvena koreografija teatralnošću u proširenom vidu (Pristaš, Koruga). označava promenu u načinu rada ideologije, Dok neki od autora nastoje da primene ili prošire koja obuhvata danas i ekonomiju iskustva i Hewittov pojam u teorijskom razmatranju afektivne materijalne proizvodnje. Društvena protesta danas (Klein) ili analizi reprezentacije koreografija nudi otelovljenje kao mehanizam povesnih gestova (Wijhe), drugi kritički ispituju ideologije, umesto interpelacije; ona tvrdi da pojam društvene koreografije sa njegovih ideologija funkcioniše kao izvedba otelovljenih vlastitih marksističkih osnova (Kostanić) ili obreda, za čije vršenje nije potrebna vera. dalje razmatraju kako bi se on mogao primeniti u ekonomiji (Martin). Koreografija se takođe Dok Hewitt svoje tvrdnje iznosi bez osvrta pojavljuje u analizi odnosa ratovanja i plesa na studije plesa i izvedbe, pojedini koreografi i (Cvejić, Hacham i Feder). Konačno, ovaj broj iznosi umetnici koriste termin „društvena koreografija“ i kolaž stavova izravno iz koreografske i plesne u opisivanju svojih praksi ili političkih stavova. prakse nekoliko evropskih autora koji promišljaju Štaviše, poslednjih nekoliko godina, svedoci upotrebu pojma u odnosu na telesni pokret, javni smo kako se izraz „društvena koreografija“ prostor, zajednicu, političku mobilizaciju i dr. ■ pretvara u plesni ekvivalent umetnosti zajednice (community arts), društveno angažovane i – kako je to Claire Bishop rečito uočila – participativne umetnosti. Međutim, veza sa ideološkim registrom tog pojma ostaje bez izražaja u mnogim umetničkim projektima koji sebe opisuju kao društvenu koreografiju. Stoga, ostaje otvoreno pitanje kako pokret, kroz ples i svakodnevno društveno, javno ili privatno ponašanje označava i deluje politički ili ideološki. Nakon skorašnjih nereda i protesta, umetnici i teoretičari tragaju za paralelama između koreografije i društvenog pokreta, od kojih neka tumačenja olako pripisuju utopijsku političku dejstvenost telesnim 4 TkH 21 Društvena koreografija Jeroen van Wijhe Tejlorizam, nacizam i Skitnica: Chaplinova... Društvena koreografija TkH 21 5 Tejlorizam, nacizam i Skitnica: Chaplinova kritika društvenih koreografija u Modernim vremenima i Velikom diktatoru

Jeroen van WiJhe ● ● stavovima protiv liberalnog kapitalizma on je Chaplinov naredni film je takođe kritikovao Uvod ● Premijera filma Moderna vremena suštinski kritikovao vladajuću ideologiju razdoblja jednu vladajuću ideologiju. U Velikom diktatoru, Charliea Chaplina 1936. označila je prekretnicu i zemlje u kojoj je tada živeo – Amerike 20. veka. Chaplin koristi komediju da bi satirisao nacional- u njegovoj karijeri. Ovaj film je ne samo najavio Osim toga, pošto je bio jedan od najpoznatijih socijalistički režim Adolfa Hitlera. Kao i Moderna njegov prelazak s nemog na zvučni film umetnika svog vremena, njegove političke vremena, i Veliki diktator je bio kontroverzan i (simbolizovan poslednjom pojavom njegovog poruke stizale su do svetske publike i uticale uticajan film. On je isprva zabrinuo američku i čuvenog lika Skitnice), već je postao i prvi u na nju. Chaplinov politički glas primetio je i britansku vladu, koje su se bojale da će ugroziti nizu Chaplinovih eksplicitno političkih filmova. FBI, koji je počeo da ga prati 1942. Po jednom njihovu politiku popuštavanja nacističkoj Moderna vremena se bave uslovima života za članku poslatom J. Edgaru Hooveru 1944, Nemačkoj (Brownlow i Kloft 2002; Friedrich vreme Velike krize. Film oslikava jedno društvo 1986, 50). Međutim, sa eskalacijom rata, film pod sve jačom vlašću kapitalizma, koji ga Ima ljudi i žena u dalekim delovima sveta koji je postao veoma popularan, zahvaljujući svojoj sve više destabilizuje, u kojem su ulice pune nikada nisu čuli za Isusa Hrista; a ipak, svi oni znaju i jasnoj antifašističkoj propagandnoj vrednosti. demonstranata, a fabrike radnika od kojih se vole Charlieja Chaplina. Stoga, kada Chaplin napravi Mada ga je Hitler zabranio u Nemačkoj i svim traži da rade kao „šrafovi“ u industrijalizovanim film, njegove misli stignu do daleko šire publike okupiranim zemljama (Cole 2001, 149), Veliki mašinama. Chaplinov tada novi „politički glas“ nego novine, časopisi ili radio – i to rečima slikâ, diktator je postao Chaplinov komercijalno pokazaće se i uticajnim i kontroverznim. Svojim koje svi razumeju. (Sbardellati i Shaw 2003, 500) najuspešniji film, zaradivši dva miliona 6 TkH 21 Društvena koreografija Jeroen van Wijhe tadašnjih dolara u Sjedinjenim Državama poslodavaca i radnika, nudeći radnicima veće Do sada su načela naučnog upravljanja i pet miliona u svetu (Flom 1997, 145). plate, a poslodavcima veću proizvodnju. Taj uglavnom služila interesima uprave, povećavajući U Modernim vremenima i Velikom diktatoru, sistem je postao poznat kao „naučno upravljanje“ učinak radnikâ. Za njih, privlačnost naučnog Chaplin koristi medij filma da bi otvorio snažnu (scientific management) ili tejlorizam. upravljanja počivala je u obećanim većim kontra-perspektivu na dve istaknute ideologije Glavno načelo tejlorizma je povećavanje platama. Po Taylorovom mišljenju, radnici svog vremena: liberalni kapitalizam i nacional- efikasnosti rada zamenom starih pravila (koja je nisu bili dovoljno motivisani da rade zbog socijalizam. U žiži ovog rada je posebna strategija Taylor smatrao ostacima starog poljoprivrednog ustaljenih plata na sat. Drugim rečima, više kojom je Chaplin iznosio svoje političke stavove. društva) naučnim načelima. Ta načela je trebalo rada bi značilo samo gubitak energije, a ne veću Mada je govor uveden u Modernim vremenima i da proizađu iz istraživanjâ upravljačkog tima. platu. Ekstremnija posledica ovakvog sistema utvrđen u Velikom diktatoru, Chaplinovi filmovi Shodno tome, autoritarnu figuru poslodavca nadoknade je pojava koju je Taylor nazivao u velikoj meri opštē putem pokreta. U ova dva zamenjuje upravljački tim koji nadgleda razne „vojničkim otaljavanjem“ (soldiering): sklonost filma, često zastupljena tema je i upotreba i aspekte proizvodnje. Taylor je tim rukovodiocima, radnikâ da ulažu najmanji mogući napor, što prilagođavanje određenih obrazaca telesnih poslovođama (managers) poverio četiri zadatka. daje i najmanju moguću produktivnost. Naučno pokreta u društvu. Ti se obrasci mogu objasniti Prvi zadatak bilo je razvijanje naučnog pristupa upravljanje koristi obećanje većih plata da bi pomoću pojma društvene koreografije (Hewitt svakom elementu posla. Po tom načelu, primena im podiglo motivaciju i produktivnost. Umesto 2005). Andrew Hewitt definiše društvenu statističke analize bi pre ili kasnije povećala ustaljenih plata na sat, naučno upravljanje koreografiju kao otelovljenje i uvežbavanje produktivnost radnikâ. Na primer, Taylor tvrdi da koristi sistem plaćanja po komadu (učinku), gde ideologije kroz ples ili svakodnevno kretanje. se izračunavanje najdužeg mogućeg vremena se svaki radnik plaća za svaki uspešno obavljen Ovaj rad posmatra Chaplinovu kritiku liberalnog tokom kojeg radnik može da radi pre nego što zadatak. Prema tome, najveće plate dobijali su kapitalizma i nacional-socijalizma kroz prizmu se iscrpi može upotrebiti u korist preduzeća. najefikasniji radnici, dok su neefikasni radnici dva slučaja društvene koreografije, koji se Uvođenjem predahâ i kraćeg radnog vremena ili zabušanti „kažnjavani“ manjim platama. pojavljuju u Modernim vremenima i Velikom može se bolje raspodeliti energija radnikâ. diktatoru. Tema prvog dela rada jeste liberalni Drugi zadatak se tiče naučnog pristupa odabiru Tejlorizam kao oblik društvene kapitalizam u odnosu na „tejlorizovane“ najpodesnijih radnika za neki posao. Nakon koreografije ● Dosadašnji deo rada pokrete prikazane u Modernim vremenima. selekcije, te radnike treba naučiti kako da svoj opisuje načela tejlorizma. Da bi ispitao Taylorov Drugi deo rada ispituje Chaplinov komentar na posao obavljaju što efikasnije. Da bi to ostvarili, sistem kao oblik društvene koreografije, nacional-socijalizam s naglaskom na upotrebu potencijalni kandidati bi morali da učestuju u naredni deo rada je usmeren na Hewittovu nacističkog pozdrava u Velikom diktatoru. nizu zadataka. Pošto bi statistički identifikovali zamisao društvene koreografije, kako bi se najuspešnije radnike, rukovodioci bi svakom pokazalo kako se i tejlorizam može posmatrati ● ● Moderna VreMena (1936.) od njih poverili zasebne zadatke i pomogli im upravo kao društvena koreografija. i TeJlOrizAM da ih izvršavaju na efikasan način. Na primer, U svojoj knjizi Social Choreogrpaphy: Ideology Taylor tvrdi da su lopatarskim radnicima (pri as Performance in Dance and Everyday Movement Tejlorizam ● Ustankom u Parizu 1871, Bethlehemskom preduzeću za čelik, gde je (Društvena koreografija: ideologija kao izvedba na vlast je došla francuska radnička klasa. isproban Taylorov pristup) svakodnevno izdavana u plesu i svakodnevnom pokretu, 2005), Hewitt Njihova vlada je postala poznata kao Pariska uputstva kakve pokrete treba da koriste i koje opisuje koreografiju kao društvenu, nasuprot komuna i označila je prvu revoluciju radničke ciljeve da ispune svakog dana. Kao što se može uskom modernističkom poimanju plesa oko klase tokom Industrijske revolucije (Gould nazreti iz drugog zadatka, naučno upravljanje metafizičkog subjektiviteta. Umesto toga, 1991). Američku vladu je Pariska komuna naglašava saradnju između rukovodioca i radnika. Hewitt ističe, koreografija se može sagledavati ispunila strahom od eskalacije klasnog sukoba Po trećem zadatku, da bi naučno upravljanje i u društvenom i političkom smislu. Kroz čitavu i u Sjedinjenim Državama. Posle Građanskog bilo delotvorno, upravljački tim treba da povest, koreografija se koristi za uvežbavanje rata, američko društvo se u velikoj meri bilo primenjuje otkrića svojih naučnih istraživanja načinâ ustrojavanja društava, u isti mah služeći izmenilo. Industrijska revolucija je pospešivala u obrazovanju i nadziranju svojih radnika. Kako kao „shema“ organizacije društva. Dakle, rast američkih gradova i prevlast industrije je već opisano na primeru lopatarskih radnika, društvena koreografija se odnosi na koreografiju nad poljoprivredom u američkoj privredi i rukovodilac svakog dana svakom radniku izdaje kao estetski odraz, ali i kao sâm model ideologije. društvu. Rasle su mogućnosti zapošljavanja, ali zaseban zadatak, uz obećanje veće plate ako ga Da bi ilustrovao svoju tezu, Hewitt ukazuje i jaz između bogatih i siromašnih. Takođe, sve ispuni efikasno. Taylorova poslednja dužnost za na engleski društveni ples 18. veka, koji bi se veći priliv doseljenika iz Evrope upoznavao je rukovodioce nalaže jednaku raspodelu zadataka mogao čitati kao odraz dinamike društvenog američku radničku klasu s novim ideologijama, među poslovođama i zaposlenima. Ovo načelo je ponašanja engleske građanske klase, ali i kao poput marksizma i sindikalizma (Merkle čvrsto zasnovano na Taylovorom predubeđenju model društvenog ponašanja drugih nacija. 1980, 17). Radnici su počeli da zahtevaju veća da pojedini zadaci na radnom mestu odgovaraju Međutim, društvena koreografija nije ograničena prava, organizujući proteste i obustave rada i ili radniku ili rukovodiocu. Po Tayloru, radnici bi na „umetničku“ koreografiju. Hewitt govori o osnivajući prve sveameričke sindikate (Olzak teško mogli da razumeju naučna istraživanja. estetskom kontinuumu društvene koreografije, od 1989). Tokom ovog razdoblja, Odbor za rad Njihov zadatak je stoga telesni rad, dok umetnosti plesa do svakodnevnog pokreta. Prema i obrazovanje američkog Senata je aktivno se rukovodiocima poverava istraživanje i tome, kao što se engleski društveni ples može istraživao uzroke nemirâ i tragao za rešenjima. organizacija. Neposredna posledica toga je posmatrati kao oblik društvene koreografije, tako Jedno moguće rešenje rastućih nemira u izmeštanje stručnog znanja. Dok se u naučnom se mogu posmatrati i komunistički spektakli, američkoj radničkoj klasi predložio je Frederick upravljanju od radnikâ traži samo telesni u kojima je državna ideologija i uvežbavana i Taylor. Po Taylorovom mišljenju, američka rad, stručno znanje se seli kod rukovodioca. oblikovana pokretom (vid. Cvejić i Vujanović industrija je uglavnom služila interesima Taylorovo obrazloženje ovog premeštanja je da 2012). Ali, kako se tejlorizam kvalifikuje kao poslodavaca, na račun radnikâ. U svom manifestu, se poljoprivredni radnici oslanjaju na pravila društvena koreografija? Ovo pitanje otvara još Načelima naučnog upravljanja (1910), Taylor stečena iskustvom, dok Taylorovi rukovodioci dva potpitanja: na koji način tejlorizam postoji je predložio sistem koji bi služio interesima i svoje znanje temelje na naučnom istraživanju. kao koreografija i kako je tejlorizam „društven“? Tejlorizam, nacizam i Skitnica: Chaplinova... Društvena koreografija TkH 21 7

Drugim rečima, koju ideologiju on izvodi? Slično napretka“, posle razaranja Drugog svetskog rata mašinama. To je radnike učinilo lako zamenjivim Hewittu, teoretičarka plesa Susan Leigh Foster (Laban i Lawrence 1947, xi). Dakle, kao i pobornici drugim radnicima i, s napretkom tehnologije, tvrdi da pojam koreografije nije ograničen na pokreta efikasnosti pre njega, Laban opravdava pravim mašinama (Merkle 1980, 77). područje pozorišnog plesa, već da se odnosi ubeđenje o koristi efikasnosti posleratnim Konačno, naučno upravljanje u praksi, izgleda, na „planiranje ili orkestraciju telâ u pokretu“ političkim i društvenim uslovima. U oba slučaja, nije ispunilo vlastito obećanje jednakosti. (Foster 2010, 15). U takvoj definiciji pojam efikasnost je bila propagirana kao rešenje za Taylorov manifest počinje tezom da glavni cilj koreografije postaje primenjiv na tejlorizam, koji hvatanje u koštac s radikalnim promenama upravljanja treba da bude dostizanje najvećeg od radničkog tela zahteva da izvodi predodređene u društvu, obećavajući svojim sledbenicima mogućeg napretka i za poslodavca i za zaposlene. obrasce pokreta, da bi bilo ocenjeno efikasnim. povratak stabilnosti i blagostanja, uprkos Umesto povlašćivanja poslodavca, Taylor tvrdi, Frank Gilbreth, jedan od izvora Taylorovog industrijalizaciji i, kasnije, posledicama rata. upravljanje treba da koristi obema stranama nadahnuća, razvio je način ocenjivanja efikasnosti i podstiče saradnju između poslovođe, koji pokretâ u proizvodnji. Gilbreth je kamerom Moderna vremena ● Nakon raspolaže znanjem, i zaposlenog, koji ga izvršava. snimao radnike u proizvodnji, mereći vreme prvobitnog uspeha početkom druge decenije U stvarnosti, međutim, najviše koristi je imala štopericom. Po okončanom snimanju, pažljivo 20. veka, tejlorizam je postao meta nekoliko uprava. Dekvalifikujući radnika i određujući mu bi analizirao efikasnost njihovih pokreta. pravaca kritike. Jedan od najzastupljenijih tiče način rada, uprava praktično stiče kontrolu nad Po izbacivanju svih nepotrebnih pokreta i se Taylorovog poricanja pojedinačnih razlika procesom proizvodnje (Braverman 1998, 94). sabiranju najefikasnijih pokreta, sledeći korak među radnicima. Njegovo viđenje radnika kao Ali Chaplin bi teško mogao da napadne taj u Gilbrethovom metodu bilo je stvaranje osobe niske inteligencije i motivisane željom za aspekt tejlorizma. Izjednačavanje povlastica jednoobraznog rečnika pokretâ potrebnih za dobiti bilo je jednoobrazno i pomalo uvredljivo. poslodavca i zaposlenog dovelo bi do ukidanja izvršenje nekog zadatka (Price 1989, 3). Dakle, Osim toga, on podrazumeva da će svaki radnik privatnog vlasništva. Međutim, Chaplin je i sam kao u nekoj plesnoj koreografiji, od radnikâ reagovati podjednako dobro na bilo koji metod posedovao ličnu svojinu; sa partnerima je 1919. se očekivalo da izvode istovetan aranžman, koji se pokaže naučno najefikasnijim. Međutim, osnovao United Artists, filmski studio koji je na osnovu istovetne sintakse predodređenih takvo gledište ne uzima u obzir razlike u producirao njegove filmove. Stoga, da je sledio tu pokreta. Upravljački tim bi se onda mogao videti ličnosti, motivaciji i inteligenciji. Usled tih kritiku, kritikovao bi i vlastiti položaj. Međutim, kao posrednik između jedne predodređene razlika, čak ni „najefikasnija“ praksa ne bi predstava da tejlorizam vodi ka poricanju koreografije i njenih izvođača, ulivajući neki mogla jamčiti da će se svaki radnik pokazati pojedinačnosti i dekvalifikovanju rada je veoma aranžman efikasnih pokreta u tela radnikâ. podjednako dobro: nešto što je „efikasno“ istaknuta u prvom delu Modernih vremena, Izgleda kao da je efikasnost ključni pojam za jednog radnika ne mora biti podjednako u kojem pratimo lik Skitnice u izmišljenoj naučnog upravljanja. I vreme i kretanje su bili efikasno za drugog (Locke 1982, 18‒22). korporaciji Electro Steel. Prva scena Modernih pomno praćeni, da bi se obezbedio najviši mogući Još jedna istaknuta kritika tiče se Taylorovog vremena se izravno odnosi na goreopisanu kritiku stepen efikasnosti u pokretima radnikâ, što bi „dekvalifikovanja“ deskilling( ) rada. Usled Taylorovog poimanja radnika. Scena prikazuje donelo i veću produktivnost (Taylor 1911, 4‒50). raspodele profesija po različitim zadacima i nagurano stado ovaca, koje prati jednako Ovaj citat iz Taylorovog manifesta pruža tačan razdvajanja stručnog znanja od rada, radnicima nagurano „krdo“ radnika. Kao i ovce, i radnici se prikaz njegove ideologije: „U prošlosti, čovek je više nije bilo potrebno obrazovanje da bi svoj ponašaju kao stoka, dok ih po skupinama odvode bio prvi; u budućnosti, mašina mora biti prva“ posao dovoljno dobro obavljali. To je omogućilo do fabrika gde se prema svima odnose na isti (Taylor 1911, 2). Ova naklonjenost efikasnoj poslovođama da zapošljavaju neobrazovanu način, nezavisno od ličnih razlika među njima. mašini umesto radniku odražava se na njegov i stoga jeftiniju radnu snagu (Littler 1978, Kritika dekvalifikovanja rada je takođe prisutna sistem, koji zamenjuje poljoprivredna pravila 188). Tejlorizam je tako redefinisao rad kao u jednoj od prvih scena sekvence u fabrici, u naučnim načelima i gde pokret, kao mašine, uspešno izvršavanje predodređenih obrazaca postaje standardizovan, da bi obezbedio veću efikasnih pokreta, poistovećujući radnike s ☐ Moderna vremena, Charilie Chaplin, 1936. efikasnost i produktivnost. Uopšte, čini se kao da koreografija tejlorizma odražava ideologiju efikasnosti, pri čemu kolektiv radnikâ, koji obavljaju ekonomske pokrete, ostvaruje veću i bržu produktivnost. Osim odražavanja ove ideologije, naučno upravljanje je na posletku postalo i model jednog šireg stremljenja u američkom društvu. Tokom 1920ih godina, prihvaćena su tejloristička načela i u nekim drugim granama američkog društva, poput visokog obrazovanja i nacionalne politike. Ta pojava je postala poznata kao „pokret efikasnosti“, koji je tvrdio da nudi razuman poredak društvu uzdrmanom prelaskom sa poljoprivrede na industriju (Merkle 1980, 81). Krajem 40ih godina, pojam efikasnosti kao stabilizujućeg uticaja ponovio je teoretičar plesa Rudolf von Laban, mada u drugačijem kontekstu. Laban je proučavao potencijalne prednosti ekonomične raspodele ljudskog truda. Tvrdio je da efikasno korišćenje truda može dovesti do povećanja produktivnosti, blagostanja i „povratka 8 TkH 21 Društvena koreografija Jeroen van Wijhe dijalogu između jednog fabričkog poslovođe i Najpre, Skitnica zavrne noseve i bradavice pozdrava na stanovnike nacističke Nemačke, jednog od radnika. Radnik je visok i mišićav i svojih saradnika, kojom prilikom ih i povredi. najpre ću se pozabaviti osnovnim sociološkim čini se sposobnim za težak telesni rad. Kasnije Zatim uplaši dve žene kada izgleda kao da obrazloženjem pozdravljanja uopšte. saznajemo, međutim, da se njegov posao sastoji će izvršiti isti zahvat i na dugmadima njihove Po Allertu, jednostavni čin pozdravljanja samo od povlačenja poluga. U svetu naučnog odeće. Zbog svojih fabričkih pokreta, mašina- drugoga je preduslov društvene interakcije upravljanja, on izgleda kao da je zalutao. Uprkos Skitnica više ne uspeva da se prilagodi društvu, kod ljudi. Razlikuju se tri zasebna koraka u svojim očiglednim telesnim preiumćstvima, odakle ga na kraju uklanjaju hapšenjem. pozdravljanju kao društvenom obredu. Najpre, on obavlja posao koji bi mogao obavljati svako Uopšte, Chaplin se poigrava pojmom društvene osoba koja želi da uspostavi društveni kontakt s dve zdrave ruke. Taj je čovek, možda simbol koreografije da bi komentarisao tejlorizam u ponudi pozdrav. Zatim, obred se nastavlja ako kvalifikovanog radnika poljoprivrednog doba, praksi. Odvajajući tejlorističku koreografiju subjekt prihvati ponudu, uzvraćanjem pozdrava. postao puki šraf u industrijskoj mašini. od slike efikasnosti koju bi trebalo da pruži, Uspešna izvedba ovog obreda postavlja dve Međutim, Chaplin iznosi svoj najupečatljiviji Chaplin nam omogućava pogled izbliza na samu strane u zajedničku sociotemporalnost, u kojoj komentar na tejlorizam koristeći njegovu koreografiju i njene izvođače. Ovaj pojedinačni se društvena interakcija odvija sve dok se ne društvenu koreografiju, tj. načinom na koji nam izvođač, Skitnica, predstavljen je u Modernim donese odluka da se društveni prostor napusti skreće pažnju na nju. Veći deo fragmenta je vremenima kao polumašina koja može valjano da uz još jedan pozdrav. Dakle, pozdravljanje usredsređen na Skitnicu dok radi za pokretnom funkcioniše samo za pokretnom trakom. Mada se stvara zamišljen prostor u kojem pojedinci trakom. Komičnost ove scene počiva na Chaplin u predstavljanju ove disfunkcionalnosti komuniciraju osećanja i informacije. Simetričnost Skitničinoj nesposobnosti da održi korak s najviše oslanja na telesno karikiranje, njegov odnosa dveju strana se često može videti pokretnom trakom. U toj jednostavnoj činjenici prikaz radnika nije bio daleko od stvarnosti u samom pozdravljanju; rukovanje obično je sadržana Chaplinova strategija saopštavanja pravih radnika početkom 20. veka, pošto su označava jednakost, dok klanjanje ili celivanje njegovog komentara na društvenu koreografiju radnici u to vreme bili među najizloženijima stopala jednoj strani daje preimućstvo nad tejlorizma. Skitničinom nesposobnošću da slomu živaca (Blom 2008, 343). Preusmeravajući drugom (Lundmark 2009, 7‒15). Međutim, bez isprati brzinu pokretne trake Chaplin dereguliše pažnju na samu tejlorističku koreografiju, obzira na te odnose moći, pozdrav uspostavlja tu konkretnu koreografiju naučnog upravljanja. Chaplin pokazuje kako taj skup pokreta navodi uzajaman odnos između pojedinaca. Štaviše, Deregulišući tu koreografiju, on preseca vezu radnika da se ponaša kao mašina. Štaviše, pozdravljanje često saopštava dobru volju. između pokreta i ideologijie. Kada bi radnici Skitničinom nesposobnošću da funkcioniše van Allert razlikuje tri norme koje se pojavljuju za pokretnom trakom održavali postojanu svog radnog okruženja, Chaplin komentariše u većini oblika pozdravljanja: telesni čin brzinu, njihova bi koreografija činila ideološku trajne učinke koje ova koreografija može imati pozdravljanja saopštava spremnost na saradnju estetiku kakvu bi tejlorizam želeo da izrazi; ta na duševno zdravlje radnikâ. Prema tome, i miroljubivost (gole ruke saopštavaju da bi koreografija izražavala osećaj efikasnosti. razotkrivajući idealističko obećanje tejlorizma je čovek nenaoružan) a usmeni iskaz često Međutim, taj osećaj efikasnosti se gubi kada o uređenom, efikasnom društvu kao obmanu, uključuje i želju za dobrim zdravljem ili ličnom se pokret ne izvodi kako treba. Skitnica nije u Chaplin osvetljava i njegovu tamnu stranu: dobrobiti. Dakle, čin pozdravljanja je uzajaman stanju da pravilno izvede željeni (tejloristički) zlostavljanje radnikâ, upravo onog sloja kojem čin dobre volje, koji obrazuje prostor za odvijanje pokret i tako poništava osećaj efikasnosti koji je tejlorizam u početku izgledao naklonjen. društvene interakcije između dveju strana. bi njegovo kretanje trebalo da izražava. Nasuprot tome, nacistički pozdrav je „Rušenje“ veze između pokreta i ideologije ● ● Veliki dikTaTor (1940.) uveo jedan suštinski element koji je porazio u Chaplinovoj verziji tejlorističke koreografije i naCističKi poZDrav tradicionalnu svrhu pozdravljanja. Ni gestom omogućava premeštanje pažnje. U odsustvu ni usmeno, korisnici nacističkog pozdrava više koreografije kao izraza ideologije efikasnosti, Kvarenje pozdrava ● Hewittovo nisu pozdravljali jedan drugog; umesto toga, od žarište se sada premešta na svojstva pokreta poimanje društvene koreografije nije ograničeno njih je traženo da pozdravljaju Führera. Umesto koja podrazumeva tejloristička koreografija. na ideološko proučavanje pokreta kao čina. U bukvalnog stupanja u kontakt rukovanjem, Sada se primećuje mašinska isprekidanost poglavlju o čitljivosti gesta, Hewitt širi pojam od svakog građanina je sada zahtevano da pokreta zavrtanja koji Skitnica neprekidno mora društvene koreogafije i na proučavanje gesta. On podigne desnu ruku, u znak odanosti Hitleru. da vrši. Ovo kretanje se čini još ekstremnijim sučeljava gest i pokret, poistovećujući pokret s Štaviše, prateći uzvik „Heil Hitler!“ saopštavao kada Chaplin Skitnicu izmesti iz konteksta namernim izvođenjem kretanja, a gest s nekim je želju za dobrim zdravljem ili ličnom dobrobiti pokretne trake. Čak i prilikom kratkog predaha, spontanijim izrazom kretanja (Hewitt 2005, 82). Führera, a ne primaoca pozdrava. Prema tome, čini se kao da tejloristička koreografija obuzima Naredni deo rada nudi analizu najosnovnijeg Hitler je praktično postao treća strana, koja je obrasce Skitničinog kretanja: dok hoda, on društvenog gesta: pozdrava. Međutim, posredovala u svakom opštenju. Subjekti Trećeg učestalo podiže laktove i trza glavom i najposle u poređenju s Hewittovom definicijom, rajha više nisu stupali u neposredan kontakt, počinje da ponavlja i pokret zavrtanja. U shvatanje pozdrava kao gesta postaje donekle već im je naređeno da se obraćaju jedan drugom fabrici, čini se da tejloristička koreografija problematično. U zavisnosti od formalnosti u ime Hitlera. Preobražajem pozdravljanja u tera Skitnicu da se ponaša kao mašina, konteksta, pozdrav može biti i nameran i zakletvu Trećem rajhu i nametanjem te zakletve ponavljajući kritiku tejlorizma i njegovog spontan. Stoga, ovaj deo rada se prevashodno kao obavezne u svim oblicima društvenosti, taj odnosa prema radniku kao delu mašinerije. tiče neformalnog, svakodnevnog pozdrava, koji najosnovniji vid društvenog opštenja postao Najposle, Skitničina „mašinska svojstva“ uključuje i uobičajene izraze dobre volje prema je militarizovan. Tako je figura Führera stupila postaju još ekstremnija kada ga mašina primaocu pozdrava. U svojoj analizi nacističkog u sve aspekte nemačke javne sfere. To je bukvalno usisa u sebe. Unutar ovog „mašinskog pozdrava, sociolog Tilman Allert zaključuje da pomoglo nacističku indoktrinaciju nemačkog sveta“, njegov uslovljeni pokret zavrtanja su svakodnevni oblici pozdravljanja u Nemačkoj stanovništva, pošto je Hitler postao bukvalno ponovo postaje delotvoran, pošto ga koristi da pretrpeli radikalan društveni preobražaj sveprisutan na svim razinama društva. bi zaustavio motor mašine. U svakodnevnom (obaveznim) uvođenjem nacističkog pozdrava Pored toga, izmenjena dinamika pozdravljanja svetu, međutim, taj pokret ga u više navrata 1933. (Allert 2008, 30‒70). Pre analiziranja dovela je i do socioloških promena u stanovništvu navodi da prekrši pravila društvenog ponašanja. dalekosežnih socioloških posledica ovog i njihovom doživljaju figure Hitlera. Allert Tejlorizam, nacizam i Skitnica: Chaplinova... Društvena koreografija TkH 21 9 opisuje razvoj „sfere nepoverenja“ u nemačkom društvu. Pozdravljanje više nije bilo gest u smislu Hewittove definicije. Ono više nije označavalo spontan izraz dobre volje i bezbednosti, već je postalo nametnut, mehanički pokret. Shodno tome, u nemačkom stanovništvu se razvio sve jači osećaj nepoverenja i izolacije. Istovremeno, nacistički pozdrav je figuri Hitlera davao nedostižno, božansko značenje. Jedina figura koja je posredovala u pozdravljanju kod Nemaca pre Hitlera bio je Bog. Štaviše, obraćanje jednoj odsutnoj figuri i podizanje ruke ka nebu kao da je prikazivalo Hitlera kao nadljudsku figuru, smeštenu u svetu bogova. Najzad, nametanje nacističkog pozdrava pomagalo je i nacionalističkom osećanju koje je Treći rajh promovisao. Do 1933, Nemačka je poznavala nekoliko različitih pozdrava, što je odražavalo prisustvo različitih kulturnih identiteta. Nametanjem nacističkog pozdrava, Treći rajh je prisilio te različite kulture da se potčine jednoj nacionalnoj otvorio druga značenja. Ova sekvenca predstavlja ☐ Veliki diktator, Charilie Chaplin, 1940. kulturi i njenom izrazu, kroz pokret. pozdrav ne kao veličanje polubožanskog bića, već kao predaju pojedinca koji ga veliča. U Chaplinovoj društvenosti. Pošto dve strane ne mogu da Veliki diktator ● Posmatranjem izvedbi, taj pokret ukida individualnost svojih ostvare telesni kontakt, društveni prostor ne nacističkog pozdrava kroz prizmu društvene podanika; njihovo istovremeno, vremenski može da nastane. Ovo ponovo pokazuje kako koreografije može se nazreti totalitarna tačno određeno podizanje ruku tomanijski narod je nacistički pozdrav jačao sferu nepoverenja ideologija na kojoj je bio zasnovan, kao i jasan čini pre nalik marionetama nego ljudima. Osim koju Allert pominje; pošto oni koji su koristili pokret kojim je ta ideologija izražavana. Pokret toga, pošto okupljena gomila nosi istovetne nacistički pozdrav nikada nisu uistinu mogli da u društvenoj koreografiji nacističkog pozdrava uniforme, posmatraču je teško da ih razlikuje pozdrave jedan drugog, već jedino zamišljenu obuhvata podignutu ruku i opšte ukrućivanje kao pojedinačne subjekte. Ukupno, sekvenca figuru Führera, nacistički pozdrav nije mogao da tela dok se pozdravlja. Izvođenje tog pokreta pokazuje kako pozdrav objedinjuje Hynkelove stvori pravu društvenu interakciju niti bliskost. odražavalo je predaju subjekta vlasti Trećeg podanike u homogenu masu, tako što ih tera Takođe, možemo se zapitati zašto je Chaplin rajha i gradilo društvo u kojem je svako da mehanički izvode isti pokret u isto vreme. uopšte odlučio da Hynkela suoči s još jednim društveno opštenje moralo početi obraćanjem Osim menjanja njegovog značenja, Chaplin diktatorom. Štaviše, on ga suočava s diktatorom toj vlasti. Dakle, nacistički pozdrav se može takođe koristi koreografiju nacističkog koji koristi isti pozdrav. Uvođenje Napalonija posmatrati kao društvena koreografija zato što pozdrava da bi pokazao njegovu neuspešnost dalje problematizuje rad nacističkog pozdrava; je odražavao i uvežbavao društveni poredak u smislu pozdravljanja. Kao što je već ako on treba da veliča neku višu vlast, kada koji je Hitlerov režim nametnuo kroz pokret. navedeno u prethodnom pasusu, nacistički se pozdravljaju Hynkel i Napaloni, čija se vlast U Velikom diktatoru, nacistički pozdrav je jedan je pozdrav narušio uobijačenu svrhu običaja veliča? Pošto oba diktatora koriste nacistički od retkih nacističkih simbola koje je Chaplin pozdravljanja. Prilikom nacističkog pozdrava, pozdrav da bi veličali sami sebe, njihovo ostavio netaknutim. Umesto toga, iskoristio dve strane nisu stupale ni u lični ni u telesni sučeljavanje neizbežno vodi do borbe za prevlast. je pozdrav u njegovom originalnom obliku, da kontakt, umesto toga sasvim posvećujući Kao što naredne scene pokazuju, Napaloni je bi ga kritikovao. Strategija koju je iskoristio u svoj pozdrav Führeru. U drugoj polovini filma, jasan pobednik u toj borbi. Kada se on i Hynkel remećenju tejlorističke koreografije uModernim Hynkel je lično podvrgnut nedelotvornosti prikažu narodu, izuzetan je kontrast između vremenima ovde je poslužila remećenju ideologije nacističkog pozdrava, prilikom susreta sa svojim njihovih zasebnih pozdrava: dok je Hynkelova nacističkog pozdrava. To postaje očigledno „bakterijanskim“ pandanom, Napalonijem (što ruka jedva podignuta, Napaloni svoju drži čvrsto u uvodnoj sceni jednog od dvojice likova koje je izvedeno od „Napoleon“ i imena figure čija ispruženu. Čim Napaloni podigne ruku, gomila tumači Chaplin, tomanijskog diktatora Adenoida je Napaloni, po svoj prilici, karikatura: Benita počinje da mu kliče. Tako Napaloni praktično Hynkela. Kao i njegov model iz pravog života, Mussolinija). Obojica pokušavaju da pozdrave prisvaja ono što bi trebalo da budu Hynkelovi Adolf Hitler, Hynkel pravi predahe tokom svojih drugoga nacističkim pozdravom, ali im ne podanici. Chaplin podriva autoritet Hynkelove govora, da bi omogućio svojoj publici da ga polazi za rukom da uspostave kontakt; kako ličnosti i pozdrava sučeljavajući ga s diktatorom pozdravlja. Tokom jednog od tih predaha, kamera Hynkel podigne ruku, Napaloni hoće da se moćnijim od njega. Osim ovog sučeljavanja, se sa Hynkela usredsređuje na publiku, koja ga rukuje i obratno. Na kraju, obojica diktatora Napaloni takođe odbija da koristi pozdrav kad pozdravlja nacističkim pozdravom. U ovoj sceni, napuste pozdrav i posluže se „starim običajem“ god se odnosi na Hynkela. Kada ga pozdravi međutim, pozdrav nije pravilno izveden; umesto rukovanja. U tom trenutku društvena interakcija Hynkelov ministar propagande Garbitsch (aluzija da podignu desnu ruku i drže je ispravljenu, najzad može da počne. U ovoj sekvenci postoji na garbage – smeće – i Hitlerovog ministra gomila neprestano ponavlja pokret podizanja naboj između zvaničnog nacističkog (ili, u propagande Josepha Goebbelsa), Napaloni ruke. Na taj način, Chaplin nacistički pozdrav Napalonijevom slučaju, rimskog) pozdrava i odgovori tapkajući ga po trbuhu. Tim činom on izvrgava ruglu i lišava njegovog kvazireligijskog tradicionalnog obreda rukovanja. Sučeljavajući odbija vlast i nacističkog pozdrava i Garbitscha, značenja. Opet, Chaplin to čini da bi skrenuo nacistički pozdrav i rukovanje, Chaplin pokazuje koji je, kao ministar propagande, neposredno pažnju sa pozdrava kao izraza ideologije, te da bi beskorisnost nacističkog pozdrava kao čina odgovoran za nametanje nacističkog pozdrava. 10 TkH 21 Društvena koreografija Jeroen van Wijhe

Uopšte uzev, čini se kao da Chaplin na razne ideologiju i omogućava Chaplinu da ga postavi načine komentariše nacistički pozdrav. Slično kao predaju individualnosti i gest neupotrebljiv odnosu prema tejlorističkoj koreografiji u za uspostavljanje društvenog opštenja. ■ Modernim vremenima, on napada ideološki aspekt pozdrava kao društvenu koreografiju, tako što literatura osujećuje njegovu tačnu izvedbu. Pošto gomila Allert, Tilman, The Hitler Salute: On the Meaning of a Gesture, Metropolitan Books / Henry Holt and Company, Njujork, 2008. ponavlja pozdrav, Chaplin ga lišava njegovog Blom, Philipp, The Vertigo Years: Change and Culture in the West, polubožanskog značenja, što mu dozvoljava 1900–1914, Weidenfeld & Nicolson, London, 2008. da naglasi njegovo deindividualizujuće dejstvo Braverman, Harry, Labor and Monopoly Capital: The Degradation of Work in the Twentieth Century, Monthly Review na one koji ga izvode. Osim toga, u sceni na Press, Njujork, 1998. [jugoslovensko izdanje: Braverman, Harry, železničkoj stanici, Napalonijevo prisustvo Rad i monopolistički kapital: degradacija rada u dvadesetom sprečava tačnu izvedbu pozdrava na dva načina: stoljeću, Globus, Zagreb, 1983.] neophodnost uzajamnog pozdrava nagoni Brownlow, Kevin i Kloft, Michael (rež.), The Tramp and the Dictator, dok. film, 2002. dvojicu diktatora da napuste samoveličajuću Chaplin, Charles (rež.), Modern Times, igrani film, 1936. prirodu pozdrava i prihvate tradicionalan gest, Chaplin, Charles (rež.), The Great Dictator, igrani film, 1940. dok samoveličajuća funkcija pozdrava i sama Cole, Robert, „Anglo-American Anti-fascist Film Propaganda in a Time of Neutrality: The Great Dictator, 1940“, Historical Journal of postaje problematična kada obojica diktatora Film, Radio and Television br. 21, 2001, str. 137–152 u međusobnom pozdravljanju koriste isti gest Cvejić, Bojana i vujanović, Ana, Public Sphere by da bi veličali sami sebe. Na posletku, Chaplin Performance, b_books & Les Laboratoires d’Aubervilliers, Berlin i Pariz, 2012. na razne načine ismeva nacistički pozdrav, Dentith, Simon, Parody, Routledge, London, 2000. koji simbolizuje moć Trećeg rajha i njegovog Flaig, Paul, „Brecht, Chaplin and the Comic Inheritance of vođu i najzad ga obara kada Napaloni „prisvoji“ Marxism“, The Brecht Yearbook br. 35, „Brecht/Marxism/Ethics“, 2010, str. 1–17 gest u Hynkelovom vlastitom domenu. Flom, Eric L, Chaplin in the Sound Era: An Analysis of the Seven Talkies, McFarland & Company, Džeferson, 1997. Zaključak ● Dakle, kako se tačno Foster, Susan Leigh, Choreographing Empathy: Kinesthesia in Chaplinov politički komentar može objasniti Performance, Routledge, Njujork, 2010. Friedrich, Otto, City of Nets: A Portrait of Hollywood in the preko društvene koreografije? Moglo bi se reći 1940’s, Harper & Row, Njujork, 1986. da Chaplin komentariše ambiciozne ideologije Gould, Roger V, „Multiple Networks and Mobilization in the Paris (u ovom slučaju ideologije tejlorizma i nacizma) Commune, 1871“, American Sociological Review br. 56, 1991, str. 716–729 parodirajući društvene koreografije koje ih hewitt, Andrew, Social Choreography: Ideology as Performance izvode. U ovom slučaju, pojam parodije nije strogo in Dance and Everyday Movement, Duke University Press, Daram, povezan s parodiranjem nekog umetničkog 2005. laban, Rudolf von i lawrence, F. C., Effort, MacDonald & proizvoda. Književni kritičar Simon Dentith Evans, London, 1947. parodiju određuje šire, kao „bilo koju kulturnu littler, Craig R, „Understanding Taylorism“, The British Journal praksu koja se služi relativno polemičnim i of Sociology br. 29, 1978, str. 185–202 locke, Edwin A, „The Ideas of Frederick W. Taylor: An uvijenim oponašanjem neke druge kulturne Evaluation“, The Academy of Management Review br. 7, 1982, str. proizvodnje ili prakse“ (Dentith 2000, 9). U ovom 14–24 slučaju, Chaplin „oponaša“ kulturnu praksu lundmark, Torbjörn, Tales of Hi and Bye: Greeting and Parting Rituals around the World, Cambridge University Press, Kejmbridž, tejlorističke koreografije i nacističkog pozdrava i 2009. postavlja ih u okvir vlastitog komentara. Njegov Maier, Charles S, „Between Taylorism and Technocracy: komentar se ostvaruje slamanjem ideologije koju European Ideologies and the Vision of Industrial Productivity in dotična društvena koreografija treba da prati, the 1920s“, Journal of Contemporary History br. 5, 1970, str. 27–61 Merkle, Judith A, Management and Ideology: The Legacy of omogućavajući pogled izbliza na koreografiju. the International Scientific Management Movement, University of Na taj način se onda otvara prostor za ponovno California Press, Berkli, 1980. osvetljavanje telesnih svojstava i znakovnog Olzak, Susan, „Labor Unrest, Immigration, and Ethnic Conflict in Urban America, 1880–1914“, American Journal of Sociology br. 94, smisla te koreografije. Ova strategija se dalje 1989, str. 1303–1333 može razraditi pomoću još jednog Hewittovog Price, Brian, „Frank and Lillian Gilbreth and the Manufacture pojma, pojma saplitanja. Po Hewittu, saplitanje, and Marketing of Motion Study, 1908–1924“, Business and Economic History br. 18, 1989, str. 1–12, http://web.mit.edu/ spoticanje ili netačna izvedba nekog gesta otvara allanmc/www/TheGilbreths.pdf (30. oktobar 2013.) posmatrača prema komičnoj neispravnosti gesta. robinson, Douglas, Estrangement and the Somatics of Da bi ilustrovao ovu tvrdnju, Hewitt pominje jednu Literature: Tolstoy, Shklovsky, Brecht, Johns Hopkins University Press, Baltimor, 2009. anegdotu od Balzaca, koji razmišlja o prirodi Sbardellati, John i Shaw, Tony, „Booting a Tramp: Charlie hodanja pošto vidi čoveka kako se spotakne Chaplin, the FBI, and the Construction of the Subversive Image (Hewitt 2005, 6). Hewittovo poimanje spoticanja in Red Scare America“, Pacific Historical Review br. 72, 2003, str. kao uvoda u „otkrovenje“ pokreta može se videti 495–530 Taylor, Frederick Winslow, The Principles of Scientific u oba slučaja primene Chaplinove strategije, o Management, Harper & Brothers Publishers, Njujork i London, kojima je gore bilo reči. U Modernim vremenima, 1911. [jugoslovensko izdanje: Tejlor, Frederik Vinslou, Naučno mehaničko, otuđeno svojstvo tejlorističkog upravljanje, Rad, Beograd, 1967.] pokreta postaje očigledno tek kada Skitnica ne uspe da ga izvrši. Isto tako, u Velikom diktatoru, Chaplin komentariše nacistički pozdrav tako što ga spotiče, što ga sprečava da širi svoju Društvena koreografija, ili društvena... Društvena koreografija TkH 21 11 Društvena koreografija, ili društvena tenzija autonomije

Marko Kostanić ● ● Namjera ovog dinamiku i historijske odnose, Hewittov koncept nam pomaže i kao analitičko oruđe plesa i u teksta preispitavanje je koncepta društvene nam omogućuje i razabiranje koreografskih društvenoj analizi. I pritom Hewitt prvenstveno koreografije iz perspektive analize društvene mehanizama i u domeni “neplesnih” društvenih misli na osvježavanja funkcioniranja pojma funkcije autonomije umjetnosti oslanjajući se praksi. Dok neminovno unosi svježi analitički ideologije. Polazeći od onog što smatra klasično na radove Claire Bishop i Stipe Ćurkovića. Pritom vjetar u uže shvaćeno polje plesne ekspertize, marksističkim poimanjem ideologije, prvenstveno su dvije stavke ključne u tretmanu društvene druga naglašena analitička dimenzija nas vodi u polju analize umjetnosti, i pripisujući mu funkcije autonomije. Prvo, neprestano treba ka valorizacijskoj perspektivi koja se susreće s statičnost i mimetičnost u analitičkom manevru, imati na umu historijsko mjesto nastanka cijelim nizom kontradikcija. Hewitt denaturalizira okreće se koreografiji koja svojom intrinzičnom autonomije umjetnosti kao društvene i demistificira plesnu umjetnost, odnosno uvodi performativnošću dinamizira pitanje ideologije. činjenice, odnosno uspostavu kapitalističkog moment historijske kontingencije u proces Odnosno, ona ne samo da ilustrira određenu načina proizvodnje i najamnog rada i da je to institucionalizacije legitimne plesne umjestnosti. ideologiju, ili da ideološki prikazuje određenu i dalje dominantan način proizvodnje. Drugo, Ne samo iz pozicije propitivanja što je dopušteno, stvarnost, ona tu stvarnost i proizvodi, odnosno autonomija umjetnosti u društvenoj podjeli a što nije dopušteno smatrati se plesom, već i na služi kao povlašteno mjesto projiciranja neke rada nije statične naravi. Drugim riječima, iz obuhvatnijoj historijskoj razini korespondiranja i nove stvarnosti. Tu logiku podvlači tezom o materijalističke perspektive nije presudno što kolidiranja institucionalnog polja plesa s raznim neodvojivosti političkog i estetskog, odnosno i da smatramo umjetnošću u tehničkom, virtuoznom društvenim, ekonomskim i političkim procesima. politika sadrži estetski moment koji je, štoviše, ili kunsthistorijskom smislu, već kojem tipu I tu dolazimo do tanke granice na kojoj postaje proizvodne naravi. Čini politiku kreativnom. društvene aktivnosti pridajemo autonomiju. teško razlučit socijalnu koreografiju kao analitički Tu možemo detektirati tri problematična koncept od socijalne koreografije kao analitičkog aspekta. Iako spominje i sofisticiranije Konceptu društvene koreografije koji je u simptoma. Tu granicu možemo odrediti kao marksističke analize, Hewitt odveć grubo raspravu uveo Andrew Hewitt (Hewitt 2005) socijalnu tenziju autonomije umjetnosti. ocrtava marksističku teoriju ideologije. Da ne možemo prići iz dvije valorizacijske perspektive. Ta granica nije plod nekakvog presudnog idemo sad u detaljniji historijat rasprava, samo Prva je vezana uz širenje analitičkog aparata u Hewittovog epistemološkog deficita, već efekt ćemo napomenut da ideologija ima funkciju pristupu plesu kao umjetnosti. Ne samo da nas postojećih društvenih odnosa i društvene reproduciranja sustava i da je neodvojiva od izbavljuje iz metafizičkih režima čitanja plesa, bilo podjele rada koji se ne mogu zaobići teorijskim materijalne baze. Ne u smislu jednostavne kroz transcedentalno tijelo bilo kroz elaboracije analizama, već jedino društvenim i političkim monokauzalne veze već u kompleksnoj autentičnosti – i onih strukturalističkih promjenama. Ukratko, problem se javlja historijskoj i političkoj dinamici. Nije potrebna koji nivelirajući plesnu praksu na zatvorene u metodološkim postavkama koje Hewitt intrinzična performativnost koreografije da znakovne strukture koje onemogućujubilo iznosi pridavajući konceptu kojeg elaborira bismo prikazali tu kompleksnost. Uvođenje kakve afirmativne proboje – situiranjem interpretativnu snagu i van uže shvaćenog ekonomije ili materijalne baze u analizu ideologije plesa i koreografskih obrazaca u društvenu estetskog polja. To jest, socijalna koreografija ne pojednostavljuje stvar svojom navodnom 12 TkH 21 Društvena koreografija Marko Kostanić inertnošću i grubom kauzalnošću, već upravo u proširenom smislu kao alat umjetničke u Istočnoj Evropi i Argentini, Community Art suprotno, društvene procese čini dodatno proizvodnje i eksploatacije navedene tenzije. (Umetnost zajednice) pokret u Velikoj Britaniji, kompleksnim. Također, ovaj tip perspektive Što je to socijalno koje se koreografira? Kako kustoske prakse u 1990ima itd. Ključan teorijski pretpostavlja ekonomiju kao neperformativnu se valorizira taj pristup i po kojim kriterijima? ishod analiza koje Bishop poduzima – osim i nepromjenjivu sferu ljudskog djelovanja, klasifikacije raznih dramaturško-izvedbeno- što u krajnjoj liniji evidentno korespondira s Zadatak davanja odgovora na to pitanje koreografskih modela korištenih u umjetničkim prokapitalističkim stavovima. To jest, implicira da preuzela si je Claire Bishop, profesorica na projektima – je prepoznavanje usložnjenosti sami ekonomski odnosi nisu i odnosi među ljudima odsjeku za povijest umjetnosti na CUNY Graduate participativne, a i bilo koje druge umjetnosti, u i samim tim i ideološki odnosi čiji je stupanj Centeru u New Yorku, i pritom napisala knjigu društveni kontekst u koji intervenira i političke promjenjivosti stupanj intenziteta klasne borbe. Artificial Hells: Participatory Art and the Politics odnose koji ga isprepliću. Kao osnovno teorijsko Da osvježimo priču usko vezanim primjerom of Spectatorship, u kojoj odmah uspostavlja polazište Bishop uzima Rancièereove analize – nedavna ekspanzija pojma koreografije u dijagnozu – umjetnost je unutar zadnja dva estetike, ne samo kao eksplanatorni alat koreografskim krugovima van uže shvaćene desetljeća doživjela “društveni obrat”. Preciznije, već prvenstveno kao resurs za uspostavu plesne proizvodnje, vezana uz metaforički društveni odnosi su postali njen medij ili objekt, vrijednosne procjene pojedinih umjetničkih potencijal pojma, nedvojbeno je vezana uz manjak društveno tkivo je postalo njen gradivni materijal, projekata koji svojom logikom demontiraju i novčanih sredstava u produkciji i prisiljenost na bilo u svrhu njegova mijenjanja bilo ispitivanja, nadilaze dominante opreke u diskusijama oko proizvodnju soloa ili dueta, ukoliko do produkcije koreografiranja i eksperimentiranja. Neki od participativne umjetnosti kao što su “aktivna” opće dođe. A još radikalniji fenomen u tom primjera participativne umjetnosti u lokalnom vs. pasivna publika ili singularno autorstvo pogledu je inflacija ne-performativnih formata kontekstu, sa svojim specifičnostima, su naspram kolektivnog autorstva. I pritom poput istraživanja, radionica, publikacija ili tzv. recimo neke recentne predstave Montažstroja eliminiraju prosudbenu potku koja u maniri labova koji otvaraju prostor za imaginiranje ili rad Kristine Leko s mljekaricama. Ključan loše savjesti prati sve te projekte, kustoske koreografije kao univerzalno aplikabilnog pojma. naglasak je na tretmanu publike/javnosti/ legitimacije i birtijske rasprave – etiku. Bishop iz Drugi problemski aspekt je analitičko građana – ona više nije izvanjski promatrač, političkih razloga zagovara uvođenje estetičkih uspostavljanje kontinuuma između različitih ona participira u proizvodnji umjetnosti ili se u kriterija u tretman participativne umjetnosti. oblika društvenog rada. Ne radi se pritom krajnjoj varijanti ona proizvodi kao umjetnost. Jer, kako sama kaže u knjizi nekoliko puta, o vitalističkoj gesti koju Hewitt s pravom i A taj tretman publike znan kao participativna ako ih eliminiramo, zašto u valorizaciji ne elaborirano kritizira, već o metodološkoj postavci umjetnost, tvrdi Bishop, postao je od 1990ih uspoređivat te projekte s drugim ne-umjetničkim, o premreženosti različitih radova, prvenstveno nadalje prihvaćen kao ultimativna politička političkim projektima, zašto se skrivati u umjetničkog i političkog.1 Koliko to god bilo točno umjetnost. I postavlja si zdravorazumska pitanja sigurnom utočištu autonomije umjetnosti iz nekakve univerzalne perspektive ljudskog – zašto se to dogodilo? Čega je to simptom? ako ti je cilj mijenjati društvene odnose? rada, to nam ništa ne govori o tome zašto u I koji je najproduktivniji analitički pristup toj Zapravo, Bishop tvrdi da se prakse kapitalističkom društvu postoji ovakva podjela umjetničkoj praksi i kako ju trebamo valorizirati? participativne umjetnosti, mogu umjetnički rada i koje su njene političke implikacije. Nakon postavljanja teorijskih osnova i vlastitog i politički – ili upravo u tenziji između I tu dolazimo do trećeg aspekta koji se kritičkog pozicioniranja u uvodnom poglavlju političkog i umjetničkog – iskupiti jedino u direktno nadovezuje – kroz koncept socijalne Bishop kreće u povijesno istraživanje. perspektivi Rancièreovih teorijskih analiza: koreografije dolazi do miješanja dviju razina Kroz poglavlja koja završavaju analizom pristupa društvenim fenomenima. Prožimaju suvremenih praksi i projekata participativne Stoga, jedan od Rancièreovih ključnih doprinosa se analitički pristup određenom društvenom umjetnosti Claire Bishop donosi historijski pregled suvremenim raspravama oko umjetnosti i politike odnosu i politički potencijal nadilaženja praksi kroz 20. stoljeće. Uz kontekstualizaciju jeste ponovno osmišljanje termina „estetsko“ tako tog odnosa. I sve u istom pojmu – socijalna društveno-političke situacije u kojoj se javljaju da označuje poseban modalitet iskustva, uključujući koreografija, koja funkcionira i kao analitičko i analizu teatarsko-izvedbeno-koreografskih i sámo lingvističko i teorijsko područje u kojemu se oruđe i kao mehanizam političkog iskupljenja mehanizama koji su korišteni Bishop postupno odvija mišljenje o umjetnosti. Po toj logici, sve tvrdnje umjetničkog djelovanja u rancièreovskom gradi narativ o društvenoj tenziji autonomije koje se izdaju za „antiestetičke“ ili koje odbijaju smislu. Funkcija iskupljenja nije eksplicitna i ne umjetnosti pritom pružajući vlastiti stav o umjetnost, i dalje funkcioniraju unutar estetičkoga postoji Hewittova preskripcija u tom smislu, već produktivnom tretmanu te tenzije. Osnovni režima. Estetičko za Rancièrea stoga signalizira implikacije njegove analize služe kao iznimno uvid historizacijskog procesa prepoznavanje je sposobnost promišljanja proturječja: produktivnog podatan resurs u političkim imaginacijama proliferacije praksi participativne umjetnosti u proturječja odnosa umjetnosti prema promjeni koreografa koji se u svom radu legitimiraju tim osvit ili nakon perioda političkih previranja kao društva, koje karaterizira paradoks vjere u autonomiju analizama. Nedvojbeno je da postoji direktna što su 1917, 1968. ili 1989. i drugačijih uloga i umjetnosti i njenu neraskidivu vezu sa obećanjem veza između društvene analize i perspektive funkcija koje su te prakse imale u odnosu na boljeg svijeta koji će doći. Dok je ta antinomija društvene promjene analiziranog no ona iziskuje političke aktere ovisno o političkom pokretu, očita u mnogim avangardnim praksama prošloga drukčiji pristup. Teza ovog teksta jest da kočnicu snazi ili u nekim slučajevima vlasti koja je stajala stoljeća, čini se posebno primjerenom analiziranju tom pristupu Hewittu predstavlja autonomija iza njih. Osim turbulentnih političkih godina participativne umjetnosti i legitimizacijskih narativa umjetnosti u društvenoj podjeli rada, odnosno Bishop koristi i primjere iz političkih uređenja u koje ona privlači. Ukratko, estetsko ne treba žrtvovati stalna tenzija koju ta autonomija neprestano kojima su javni prostor i javna sfera bili drukčije na oltaru promjene društva, zato jer ono već-uvijek generira. U nastavku ćemo problemu pristupiti iz regulirani nego u poslijeratnim zapadnim sadrži to obećanje poboljšanja. (Bishop 2012, 29) perspektive suvremene umjetničke proizvodnje demokracijama, kao što su vojne diktature koja koristi mehanizme socijalne koreografije u Južnoj Americi ili zemlje Istočnog bloka. Prema Rancièreu estetičkom režimu Konkretnije, Bishop analizira talijanske futuriste, umjetnosti koji se pojavljuje u razdoblju 1 Hewitt analizira više koreografskih fenomena, od rada Isadore dadaističke performanse i postrevolucionarnu prosvjetiteljsta, a u kojem živimo i danas, Duncan do američke komercijalne plesne trupe Tiller Girls iz 30ih godina prošlog stoljeća, koju analizira iz perspektive fordističkog participativnu umjetnost u Sovjetskom Savezu, prethodili su etički i reprezentacijski režim. režima rada. Situacionističku Internacionalu, happeninge (Rancière 2005) Prvi pretpostavlja sadržaj istine Društvena koreografija, ili društvena... Društvena koreografija TkH 21 13 u slikama i njenu svrhu, odnosno efekte i ciljeve, autonomije kao društvenog problema i simptoma uspjela u svom naumu, odnosno, očitima se čine a drugi logiku vizualnog režima u kojoj lijepe društvene podjele rada. Sam Kant u Kritici strukturna ograničenja nadilaženja autonomije umjetnosti zauzimaju određenu hijerarhijsku moći suđenja locira nastanak autonomije ako se ne dovede u pitanja kapitalistički sistem poziciju koja korespondira društveno-političkim kao normativne opreke najamnom radu, tj. proizvodnje koji organizira društvenu podjelu hijerarhijama. Unutar estetičkog režima, uspostavi kapitalističkih društvenih odnosa: rada i mjesto i funkciju umjetnosti u toj podjeli: oslanjajući se na ishodišne analize Kanta i Schillera, Rancière prepoznaje intrizičnu […] lepa umetnost mora u dvostrukom smislu da I prema imanentnim kriterijima, projekt uspostave političnost umjetnosti kao alata za zamišljanje bude slobodna umetnost: kako po tome da ona nije, autonomije umjetnosti ispostavio se dakle kao novog i promjenu postojećeg režima politike. kao najamni posao, neki rad čija veličina može da se problematičan i kontradiktoran. Iz perspektive Ukratko, sama inherentna neodlučnost estetskog oceni, iznudi ili plati prema nekom određenom merilu, teze o njegovoj genezi kao dislocirane reakcije iskustva postaje politički resurs imaginacije tako i po tome da se duštvenost u njoj, doduše, u na problematiku supsumiranog rada, i uspjeh po koja nam pomaže da shvatimo političku situaciju njoj zapošljava, ali se pritom ipak oseća zadovoljena imanentnim kriterijima ionako bi bio samo drugo koju živimo kao promjenjivu. Dakle, umjetnost i probuđena, ne očekujući ostvarenje neke druge naličje fundamentalnijeg poraza. Obećanje slobodnog kao epistemički okidač za nadilaženje političkih svrhe (nezavisno od nagrade). (Kant 1975, 162) rada koje se unaprijed limitira na ekskluzivnu ćorsokaka, aktivator poznatog rancièreovskog i hermetično odijeljenu sferu i u slučaju svoje disenzusa kao drugog imena za politiku. Dakle, Rancière ne tretira autonomiju potpune realizacije bilo bi irelevantno u odnosu Osnovna motivacija prianjanja uz Rancièreove umjetnosti kao problem ili ishod širih društvenih na razmjere problematike iz koje je proizašlo. analize, iako navodi određene probleme sa tako procesa, već u njenoj kontradiktornoj naravi vidi Normativnu afirmaciju ideala slobodnog rada na postavljenim analitičkim okvirom, za Claire Bishop potencijal političkog iskupljenja. Što predstavlja kojoj projekt konstitucije autonomne estetske se nalazi u razračunavanju s dijagnosticiranjem i zapreku u korištenju njegovih teorijskih sfere počiva, ne možemo si priuštiti odbaciti. No, političke umjetnosti koja ju takvom nalazi samo polazišta kod Bishop. Do određene razine njezina realizacija na razini zadanog problema u trenutku kada ova napušta teren umjetnosti. oni su iznimno produktivni u kritici diskursa zahtijeva da ga se ne limitira na izdvojenu sferu Kada radi s “autentičnim” ljudima, kada vrši glorifikacije političke autentičnosti, ali vode umjetničkog rada, nego poopći na društveni rad u određene društvene aktivnosti koje spadaju u u opasnost da postanu preskriptivni upravo cjelini. A to je istoznačno s njegovim oslobađanjem neke druge domene, poput domena koje su inače u kritici didaktičke preskripivnosti određenih iz supsumpcije pod kapital i emancipacijom od u nadležnosti institucija socijalnog rada ili ureda umjetničkih projekata i neintendirano služe diktata njegove reprodukcije. Neovisno o ulozi za urbanističko planiranje. Bishop pritom ne tvrdi kao faktor reprodukcije trenutne društvene koju će umjetnost pritom u budućnosti igrati, da su takve prakse izlišne ili načelno politički podjele rada i funkcije autonomije umjetnosti to je prije svega politički zadatak. (Ibid, 33) problematične, već da ih se treba izvršavati koja često može biti društveno regresivnog umjetnički, to jest koristiti tenziju autonomije karaktera. Regresivno se ovde ne odnosi na Za razliku od Rancièreove perspektive ova ili neodlučivost estetskog iskustva kao alat za reakcionarne političke sadržaje, već naprimjer, ne nudi alat za vrijednosnu procjenu pojedinih njihovu političku artikulaciju, jer bez toga ne na izbjegavanje prljanja ruku s konkretnim umjetničkih praksi ili njihovu diferencijaciju, ali postoji nikakva unutarnja svrha pozicioniranja društvenim antagonizmima i navodno politički nudi produktivniji okvir za analizu umjetničkog takvih praksi u domenu umjetnosti. Jer, ključno se baveći intrigama vlastite forme, pridonosi polja kojeg pojedini radovi svojom društvenom je pitanje koje smo već nagovijestili – iz koje reproduciranju klasnih društvenih odnosa. pretenzijom problematiziraju. Pogotovo u perspektive onda valorizirati te prakse? Kako U prvom redu kroz ideološku legitimaciju epohalnim analitičkim zahvatima kakav je valorizirati priželjkivane političke efekte? Zašto klasne distinkcije u burdjeovskom smislu. onaj Claire Bishop. Iako nigdje ne artikulira se ti projekti ne odvijaju kao regularni političko- eksplicitno sličnu perspektivu Bishop koristi socijalni projekti bez umjetničke dimenzije? U tekstu “Heteronomija rada/autonomija njene određene implikacije u analizi. Situirajući estetskog’’ (Ćurković 2012, 22-33) Stipe eksploziju popularnosti participativne umjetnosti Rancièreova analiza je korisna u smjeru u Ćurković, oslanjajući se na analize Kantove od 1990ih naovamo kao zasebnog, uvjetno kojem ju Bishop koristi, ali potpuno prešućuje teoretizacije poduzete od Petera Buergera i Paula rečeno, žanra Bishop primjećuje dva presudna pitanje koje sama Bishop kasnije postavlja Matticka jr.-a, iznosi ponešto drukčiji tretman društveno politička fenomena koji su uvjetovali u kontekstu analize suvremenih oblika kontradikcija autonomije. Ćurković osnovni ili omogućili tu eksploziju. I oba su vezana uz participativne umjetnosti. Koji su društveni impuls autonomiziranja umjetničkog rada locira raspad Istočnog bloka i postepeno demontiranje uvjeti promjene umjetničkih režima? Kako u reakciji na uspostavu kapitalističkog načina zapadne države blagostanja. U prvom slučaju promjene društvenih načina proizvodnje utječu na proizvodnje i najamnog rada. Pritom određuje se radi o kulturnoj politici New Laboura (Novog promjenu mjesta i funkcije umjetnosti u društvu, taj impuls kao protopolitički, tj. kao ne do kraja rada) pri dolasku Labour Party (Partije rada) na na logiku autonomije umjetničkog polja? Kako artikulirani otpor kapitalističkom tržištu rada vlast u Velikoj Britaniji u drugoj polovici 1990ih je uopće nastala autonomija umjetnosti unutar i kao zaziv slobodnoga rada van kapitalističke koja se temeljila na ideologiji kreativnosti. Osim društvene podjele rada i kako se ona održava? discipline i nepodložnog imperativu profitnog sad već klasičnog obrasca u kojem nastanjivanje Rancière na ta pitanja ne može odgovoriti ako motiva. Povijest te autonomije se društveno umjetnika i kulturnih radnika u određene želi zadržati koherentnost svoje teorije prema artikulirala kroz umjetničke institucije koje su radničke četvrti služi procesu gentrifikacije, kojoj politiku prepoznajemo samo u disenzualnim stalno bile u tenziji – s jedne strane kontinuirana odnosno povećanja cijene nekretnina kroz proplamsajima političkog koji su rijetki i prijetnja ekspanzije kapitalističkih odnosa, a auru kreativnog i zabavnog prostora za život oskudni, a sav režim društvene reprodukcije je s druge strane težnja umjetnika, prvenstveno u svrhu iseljenja stanovnika slabije platežne policija. U toj teoriji njemu su potrebni tenzija utjelovljena u historijskim avangardama, za moći, ideologija kreativnosti i participacije – autonomije i neodlučivost estetskog iskustva nadilaženje ograničenja autonomije i pretvaranje oslonjena na narative o novoj nematerijalnoj kao resursi političkog jer svi dugotrajniji protopolitičkog impulsa u artikulirani politički ekonomiji i svi smo mi sada srednja klasa, projekti i sudjelovanje u režimu društvene stav nezaštićen enklavom autonomije i jedino nas manjak aspiracije eventualno priječi reprodukcije su izdaja. To jest, unutar njegovog pripušten u nemilosrdnu dinamiku političkih – služila je i kao dimna zavjesa za presudnije teorijskog projekta nema mjesta za sagledavanje antagonizama. Kao što znamo, ta težnja nije retrogradne društvene procese. Kreativnost i 14 TkH 21 Društvena koreografija Marko Kostanić samosvjesnost pojedinaca alat je za snalaženje u ukazala na limite Rancièreova pristupa, kojih momentu komercijalizacije zdravstva i školstva je očito svjesna, ukazajući na adekvatnost s i prekarizacije radnih odnosa. Također, u cijeloj obzirom na ravan analize i cilj. S obzirom na priči ne smijemo zanemariti niti uspon kreativnih stalnu maoističku dinamiku kontradikcija u kojoj industrija i ideološke profilacije kreativca kao živimo ako pristupamo kulturno-umjetničkom prototipnog radnika u suvremenom kapitalizmu. polju iz lijeve pozicije kroz stalna skakanja od Drugi fenomen, možda još važniji, ali sigurno razine umjetničke proizvodnje preko kulturne međupovezan, odgovara na već naznačeno pitanje politike do opće politike potrebno je ustvrditi – zašto umjetnički projekti preuzimaju određene da nam kontradikcije autonomije umjetnosti i eksplicitne političke agende? Odgovor je prilično njene društvene tenzije neće riješiti određeni jednostavan, ali analitički presudan – zato što teorijski obrazac ma koliko god sofisticiran bio ne postoje realne političke snage koje bi te već jedino ishod političkih borbi. Što ne znači agende zastupale. Kao što je svima dobro znano, da unutar tih borbi umjetnost može biti ovakva zadnjih tridesetak godina svjedočimo potpunoj ili onakva, naprotiv, kako Bishop i naglašava, marginalizaciji i diskreditaciji ljevice, od sindikata rigorozni vrijednosni sudovi su nužni. Kako do partija. Zašto bi se određene umjetničke ćemo uspostaviti kriterije za te sudove je već grupe ili autori bavili pitanjima nezaposlenih političko pitanje. I tu nam je analiza Claire Bishop žena ili devastacijom urbanog okoliša ako bi od velike pomoći. Za početak, kako ozbiljnije postojale jake političke snage koje bi se bavile društvene promjene još nisu ni približno na tim problemom i nudile konkretna rješenja? To vidiku, nudi nam rukavce u dva susjedna sektora, ne znači da se u toj konstelaciji umjetnici ne bi medijsko polje i obrazovni sustav, bez kojih je referirali na te probleme već bi njihov odnos bio nemoguće započeti reartikulaciju umjetničke potpuno drukčiji kao što je Bishop i pokazala na proizvodnje i kulturne politike. I to nikako primjerima određenih avangardnih pokreta koji drugačije ne može ići nego participativno. ■ su bili eksplicitno svrstani uz političke partije ili bili dio određenog političkog pokreta. Današnja reference: participativna umjetnost i diskurs koji se oko nje Bishop, Claire, Artificial Hell: Participatory Art and the Politics of Spectatorship, Verso, London – New York, 2012. proizvodi sigurno ne bi izgledali tako da postoji ćurković, Stipe, “Heteronomija rada/Autonomija estetskog“, drukčija konfiguracija političkih snaga u društvu. Frakcija, br. 60/61, 2012, str. 22-33 To se mora preuzeti kao ishodišna točka svake hewitt, Andrew, Social Choreography: Ideology as Performance in Dance and Everyday Movement, Duke University Press, Durham analize suvremene participativne umjetnosti. – London, 2005. No, to i ne znači se na tome mora stati. Kant, Imanuel, Kritika moći suđenja, BIGZ, Beograd, 1975. Knjiga Artificial Hells daje odličan i obuhvatan pregled umjetničke prakse participativne umjetnosti. Iznimno dobro analizira historijske putanje i kontekstualizira uvjete nastanka. Uvodi analitički produktivne pojmove poput delegiranja autsorsanja autentičnosti i prije svega odmiče raspravu od napornih pitanja etičkog karaktera pojedinog rada – što je problematičnije: ako je umjetnik samo facilitator, pa time i manipulator iz sjene, ili sa snažnim autorski pečatom “upravlja stvarnošću” i tako eksploatira uključene? Jedina teorijska zamjerka koja se može uputiti nalazi se u iznalaženju ravni na kojoj se rješavaju kontradikcije participativne umjetnosti i samim tim kontradikcije autonomije umjetnosti. Iako koristi analize kulturnih politika i šire političko- ekonomske situacije fundamentalna teorijska procedura sastoji se u rancièreovskoj gesti pretvaranja kontradikcije u politički potencijal. Kao što smo već naglasili, ta gesta do određene razine funkcionira, ali u jednom trenutku može služiti kao rješenje za svaku priliku, kao iskupljenje za svaki političko-umjetnički čin. Dovoljno je široko postavljena da gotovo pa da dopušta arbitrarnost u proizvodnji kriterija valorizacije. Bishop je svjesna problema teorijskog ishodišta kojeg odabire i u određenim analitičkim rukavcima ga i doslovno nadilazi, ali u ključnim trenucima mu se vraća kao sigurnom pribježištu. To jest, bilo bi produktivnije da je eksplicitnije Koreografije otpora Društvena koreografija TkH 21 15 Koreografije otpora

Aldo Milohnić ● ● U ovom tekstu npr. liječnici, pravnici, naučnici, umjetnici itd, preuzima ruski teoretičar P. Medvedev 1920ih iznosim prve utiske (i tek sporadično prva najprije bacila na tržište, a potom ih pretvorila godina i uvodi je u svoju teoriju književnosti: saznanja) o nekim fragmentima vrlo široke teme, u svoje plaćene najamne radnike. Umjetnici prema njemu „život“ postaje fabula (ili tema, koju bih uokvirio radnim naslovom „koreografije su tako upravo zahvaljujući komodifikaciji motiv…) umjetničkog djela tek nakon što otpora“. Naravno da su i „koreografija“ i „otpor“ umjetnosti dobili mogućnost da autonomno se „prelomi kroz prizmu ideološke sredine“, izrazi koji se mogu odnositi na razne, pa i vrlo odlučuju o svojem stvaralaštvu. To je teza, odnosno dobije „konkretno ideološko tijelo“. stare, povijesne epohe i događaje, ali svoj koju su nakon Marxa razvijali još mnogi drugi (Medvedev 1976, 25-26) Na tom tragu je i trenutni istraživački interes u ovom tekstu materijalistički orijentirani teoretičari umjetnosti Althusser kada kaže da umjetnost ne prikazuje ograničit ću na novije razdoblje, prije svega (Adorno, Attali itd). Taj strukturni momenat neposrednu realnost, nego ideologiju „iz koje na 20. stoljeće i prve decenije novog milenija. doveo je krajem 19. i početkom 20. stoljeća do se rađa, u kojoj pliva, od koje se odvaja kao Osim te vremenske odrednice, za ovu priliku o pojave l’art-pour-l’artizma, koji je umjetnost umjetnost i na koju aludira“. (Althusser 1980, korištenim primjerima razmišljam kroz prizmu autonomizirao i u ideološkom smislu. Problem 323) Umjetnost je dakle u nekom specifičnom Hewittovog koncepta „društvene koreografije“ s autonomijom umjetnosti je međutim u tome odnosu prema ideologiji: ona je dio ideološke (Hewitt 2005), koji se čini osobito prikladan da je – kako je još prije 30ak godina upozorio sfere, ali strogo uzevši sama nije ideologija. zbog njegovog razumijevanja koreografije kao Rastko Močnik – taj modernistički trenutak Upravo zbog tog njenog privilegiranog, pojma ukliještenog između estetike i politike,1 ali emancipacije umjetničke prakse trajao vrlo relativno autonomnog statusa, umjetnost i zbog njegove težnje da iskorači iz buržoaskog kratko, jer je ideologija autonomne umjetnosti može uspostaviti odnos prema stvarnosti, a da shvaćanja tzv. „autonomne umjetnosti“. Da zasnovana na ideologiji razmjene, što neminovno se pri tome ne mora neposredno odnositi na bismo došli do koreografije otpora, započnimo vodi k tome da i umjetnost samu sebe počinje tu stvarnost. Umjetnost nije ni odraz ni tumač s onim što ona nije, odnosno ne bi trebala shvaćati kao robu. Zato umjetničke avangarde realnosti; čak i onda kada imamo utisak da je biti, dakle sa autonomnom umjetnošću. u 20. stoljeću (historijska s početka stoljeća ponašanje individua u umjetničkom djelu danost i neoavangarda s kraja 60ih) odbacuju ideju neke čiste realnosti, to je, kaže Althusser, Autonomija umjetnosti i realnost autonomne umjetnosti i teže k brisanju granica ništa drugo nego samo i isključivo „spontano ideologije ● Da bismo uopće mogli između umjetnosti i drugih „sfera“ društva.2 doživljavanje ideologije u njenom odnosu prema razmišljati o „autonomnoj umjetnosti“ danas Ali problemu autonomne umjetnosti možemo realnom”. (Ibid, 324) Iz toga možemo zaključiti moramo se najprije vratiti nekoliko koraka pristupiti i tako da preispitamo njen odnos da je jedina realnost, koju nam prikazuje natrag u prošlost. Autonomna umjetnost s ideologijom. Podsjetio bih na jedno opće umjetnost, realnost ideologije. Ako dakle uopće je naime kategorija buržoaskog društva s mjesto iz Marxovog Uvoda u kritiku političke još možemo ustrajavati na konceptu autonomne kraja 18. i početka 19. stoljeća. Prije pojave ekonomije, gdje Marx upozorava da materijal umjetnosti, onda je moguće ishodište te prosvjetiteljstva, umjetnička produkcija bila je koji umjetnost koristi za svoje potrebe nisu strategije u traženju novih, inovativnih načina u funkciji dvora, aristokracije i crkve. Jačanje neposredne društvene danosti (što je, možemo refrakcije ideološkog materijala, koji se buržoazije donosi sa sobom i oslobađanje dodati, pogrešna pretpostavka realističkih i gomila u svim sferama danas dominantnog ondašnjeg društva od feudalnih spona i stvaranje naturalističkih smjerova u umjetnosti), nego kapitalističkog društva neoliberalnog tipa. tržišta. U tome se ogleda revolucionarna uloga svoje svjetove gradi iz njihovih ideološki Iz autonomne umjetnosti izrasla je i dilema buržoazije, o kojoj pišu još Marx i Engels u „prerađenih“, „prelomljenih“ predodžbi. o tome kako odrediti granice „umjetničkoga“. Komunističkom manifestu. Velike promjene Uzimajući za primjer klasičnu umjetnost, Marx Esencijalistički i supstancijalistički pristup zadesile su sve dijelove društva pa tako i profesije kaže da „grčka umjetnost pretpostavlja grčku građanske estetike ogleda se u njenom na koje se je u feudalnom sistemu gledalo sa mitologiju, dakle prirodu i društvene oblike koje opsesivnom bavljenju ontološkim definicijama velikim strahopoštovanjem. Buržoazija je sve je već narodna fantazija preradila na nesvjesno „umjetničkog djela“, „umjetnika“ ili „umjetnosti“, te nekada „uzvišene“ profesije, kao što su umjetnički način“. (Marx 1978, 622) Ovu ideju koje je slijepo za društveno-povijesne uvjete u kojima se ti pojmovi koriste i zato nužno 2 U osnovi je to ključno pitanje i danas. Oštra podjela na 1 Ono što ja zovem „koreografijom“ nije samo način razmišljanja autonomizirane društvene “sfere” (ekonomija, politika, kultura, zapada u aporije. Građanska estetika pristaje o društvenom poretku; to je također način razmišljanja o odnosu znanost...) je već odavno prevaziđena i na životu je održavaju još uz pretpostavku da umjetničko djelo ne estetike spram politike. Drugim riječima, kao performativ, samo partikularni interesi raznih establišmenata unutar tih sfera. proizvodi nikakav izvanestetski učinak, i to koreografiju se ne može jednostavno poistovjetiti sa „estetičkim“ Umjetnost u tom smislu nije nikakav izuzetak, zato je česti slučaj i postaviti u suprotnost s kategorijom „političkoga“ koju ona ili da se progresivne umjetničke prakse okomljavaju upravo na tu poricanje karakteristično je za „autonomiziranu“ figurira ili predodređuje. (Hewitt 2005, 11) okoštalu strukturu institucije umjetnosti. sferu umjetnosti. Kako kaže Hewitt: 16 TkH 21 Društvena koreografija Aldo Milohnić

Kako je građanstvo težilo ideološkom i političkom „Autonomno tijelo“ kao ideološka u plesnoj umjetnosti 20. stoljeća. S druge oslobođenju od tutorstva apsolutističkih država u pretpostavka modernog plesa ● Bojni strane, ne treba zaboraviti da odbacivanje 18. stoljeću, umjetnosti je zajamčen određen stupanj poklič avangardnih pokreta iz početka 20. „neprirodnog“ baletnog pokreta i slavljenje slobode po cijenu onemogućavanja umjetnosti kao stoljeća za ukidanjem razgraničenja između „prirodnog“ plesnog tijela u modernom plesu društvene snage. U nekim okvirima, u umjetnosti umjetnosti i svakidašnje životne prakse usmjeren nije imuno na ideološku pozadinu, koja je zaista se moglo slobodno rasuđivati, zato jer se smatralo je na potkopavanje (u radikalnijim izdanjima i sasvim drugačija od one baletne, ali postoji i da umjetnost nema izravnog društvenog značaja. na pokapanje) građanske institucije umjetnosti čini okosnicu nove doktrine „tjelesne kulture“ (Hewitt 2005, 16) i njezine autonomije. Na području teatarskog (Körperkultur), diskurza o „izražajnosti plesa“ i plesa oštrica protesta usmjerena je prema stavljanja naglaska na „kretanju iz nutrine“ da bi O tom povijesnom trenutku autonomizacije baletu, njegovom fizičkom nasilju i psihičkom se, kako je voljela reći Martha Graham, „učinilo umjetnosti razmišljao je i Herbert Marcuse otupljivanju. Tako je, primjerice, Isadora Duncan, vidljivim unutrašnji krajolik“. U tom diskurzu u eseju „O afirmativnom karakteru kulture“, na samom početku stoljeća (oko 1902.) u modernog plesa „oslobođeno“ tijelo postaje u kojem je između ostaloga napisao da je eseju „Plesačica budućnosti“ pisala o kobnom središnji ideologem nove filozofije plesa; to tijelo „građansko društvo trpjelo ozbiljenje svojih utjecaju baleta na tjelesnu degeneraciju plesača i „ne laže“, ono je dakle garant istine, autentično i, vlastitih ideala i uzimalo ih ozbiljno kao opći plesačica, a sve u svrhu stvaranja takvog plesnog naravno, ekspresivno. To svakako jeste bio važan zahtjev samo u umjetnosti”. Građansko društvo tijela, koje bi bilo u stanju izazvati iluziju da za preokret u poimanju plesnog tijela, ali zbog toga je doduše stvorilo „slobodne individue”, međutim, njega zakoni gravitacije ne postoje.4 Balet se nije bio manje imun na stvaranje novog mita o zaključuje na kraju Marcuse, oslobodilo ih je kao koristi pogrešnim metodama jer, tvrdi Duncan, „autonomnom tijelu“5 kao ideološkoj pretpostavci osobe „koje same sebe treba da drže u stezi”. „tijelo ne smijemo prisiljavati da pravi pokrete na kojoj se zasniva projekt modernog plesa. (Marcuse 1977) Radikalnu materijalističku koji za njega nisu prirodni“. (Duncan 1988, 153) Na taj aspekt implicitne ideologizacije u teoriji kritiku autonomne sfere umjetnosti proveo Zato je cijeli pokret modernog plesa propagirao i praksi modernog plesa upozorava i Hewitt: je Althusserov krug materijalističke teorije povratak ka „prirodnom“ tijelu, koje više neće umjetnosti (Macherey, Balibar i drugi), koji je biti podvrženo baletnom drilu već će potražiti Cijela jedna tradicija razmišljanja o tijelu u razvio drugačiji pristup promišljanju umjetničke nove mogućnosti izraza u „slobodnom“ pokretu. modernome plesu – od Françoisa Delsarta barem do prakse kroz teoretizaciju koncepta „estetskoga Uz teoretsku (diskurzivnu) kritiku ideologije Marthe Graham – dijeli vjeru da tijelo ne laže. Takvo je učinka“. Ako, naime, umjetničko djelo tretiramo gracioznog i do virtuoznosti izdrilanog baletnog vjerovanje sama bit ideologije. Bol može poslužiti kao u izolaciji, „kao da samo po sebi uspostavlja tijela, moderni ples odupire se baletu i na nivou otjelovljenje kritike ideologije, ali njezina bit nikada jednu potpunu stvarnost“ (Macherey 1966), ne tjelesne ekspresije, same plesne prakse. To ne može označavati poziciju ne-ideološke istine, zato možemo objasniti zbog čega se uopće pojavilo osobito dolazi do izražaja u ekspresionističkom što postvarivanje tijela, koje je neophodno da bi ga se i kakvi su njegovi učinci. Osim toga, kako kaže plesu (Ausdruckstanz) Mary Wigman, učenice ispetljalo iz društvenog okružja koje ono „kritikuje“, Macherey, „umjetničko djelo nikada ne dolazi Emila Jacques-Dalcrozea i Rudolfa Labana. već uključuje jednu ideološku gestu. (Hewitt 2005, 18) samo: uvijek ga određuje postojanje drugih Kao i Isadora Duncan, Mary Wigman protivi se umjetničkih djela“, koja mogu pripadati drugim fanatičnoj virtuoznosti baleta, čije su „forme već ratna fotografija: dokument ili sektorima produkcije. (Ibid.) Materijalistička postale toliko fine i sublimirane idealom čistoće, koreografija za kameru? ● Da li tijelo analiza je osim toga izrazito kritična prema da se prečesto gubio ili zastirao umjetnički laže, da li je autentično u svom pokretu i u svojoj pojmu „umjetničko djelo“ i priznaje ga „samo sadržaj“. (Wigman 1988, 180) Nasuprot tom gesti, da li je koreografirano ili spontano reagira kako bi ga razotkrila kao nužnu iluziju“ (Balibar izvještačenom baletnom izričaju stoji moderni na podražaje iz okoline – to su značajna pitanja u i Macherey 1974). Estetski učinak je, naime, „i ples kao „izraz mladosti i današnjice“. (Ibid, 182) raspravi o (spontanoj) ideologiji modernog plesa, učinak na društveno određene pojedince, koji Kritika baleta iz pozicija modernog plesa bila ali ona mogu biti krucijalna i za ideološku borbu ih materijalno prisiljava da književne tekstove je značajna za poticanje reformnih strujanja koja je sastavni dio svakog radikalnog sukoba, tretiraju na određeni način“. U slučaju književnog uključujući naravno i one oružane. Poučan teksta koji je predmet Balibar-Machereyeve književni tekst ili pak postati književni u odnosima kojih ranije nije primjer za razmatranje su fotografije ratnih analize, to znači da ga prepoznajemo kao bilo.“ (Ibid.) reportera, oko kojih se pletu razne kontroverze Izraz moderne baletne škole, gdje je svaka radnja sama 3 4 „književni“ tekst, da ga „estetski“ priznajemo. sebi svrhom, [...] jest izraz degeneracije, krajnje zapalosti. Svi zbog njihovog visokog afektivno-ideološkog su pokreti naše moderne baletne škole jalovi pokreti, jer su naboja, kojega jedna ili druga zaraćena strana 3 Poznajemo, međutim, i brojne „granične slučajeve“, u kojima neprirodni: svrha im je da stvore iluziju kako zakon gravitacije za više nije sasvim jasno ima li tekst status fikcijske pripovijesti ili ne. njih ne postoji. [...] Onima, međutim, koji još uvijek uživaju u tim 5 O konceptu „autonomnog tijela“ iz početka 20. stoljeća piše Balibar i Macherey smatraju da je estetski učinak teksta ovisan pokretima, iz historijskih ili koreografskih ili bilo kojih razloga, Bojana Kunst u knjizi Nemogoče telo (Kunst 1999, 163-180), a u o interpretacijskim praksama: „Književni tekst je onaj tekst koji njima odgovaram, da ne vide dalje od suknji i trikoa. Ali pogledajte vezi sa modernim plesom i o „ekspresivnoj autonomnosti“: „Jedno je priznat kao književni, a priznat je kao književni upravo onoliko – pod suknjama, pod trikoima plešu izobličeni mišići. Pogledajte od ključnih otkrića, o kojemu govore pjesnici, filozofi i plesači, je dugo i u onoj mjeri koliko praktički izazove interpretacija, kritika još dalje – ispod mišića izobličene su kosti. Pred vama pleše ekspresivna autonomnost odnosno kinetička autonomnost tijela.“ i ‘čitanja’. Upravo zato neki tekst sasvim realno može prestati biti izobličen kostur. (Duncan 1988, 150) (Ibid, 172) Koreografije otpora Društvena koreografija TkH 21 17

☐ Uredništvo TkH poslalo je molbu za besplatnu reprodukciju Važnost fotografskog medija za fotografije „palog borca” Roberta Cape organizaciji koja raspolaže dokumentiranje povijesti nije sporna i u tom njegovim autorskim pravima. Organizacija nije uvažila naše objašnjenje da je TkH neprofitna nevladina organizacija i da naša smislu možemo dati za pravo Susan Sontag da namera da objavimo fotografiju nije rukovođena komercijalnim prijepor o autentičnosti „Smrti republikanskog nego isključivo obrazovnim motivima i željom da našim čitaocima borca“ značajno utječe na dokumentarni predočimo o kojoj fotografiji se radi u članku našeg saradnika Alda Milohnića. S obzirom na to da nismo u mogućnosti da platimo status Capove fotografije. Ali pri tome ne zahtevani iznos (a uz to, sam TkH časopis promoviše slobodan i treba smetnuti s uma, da je u međuvremenu besplatan pristup informacijama i znanju), ne možemo objaviti ta slika postala ikonička, a položaj borčevog fotografiju Roberta Cape nego samo nekoliko duhovitih primera tijela u trenutku pogibije, kada je uhvaćen parafraziranja njegovog „palog borca”. S obzirom na to da se radi o položaju tjela, koji je postao opšte mesto u istoriji fotografske u objektiv fotoaparata, zadobio je status umetnosti i popularne kulture, verujemo da našim čitaocima općeg mjesta, pa ga je bilo moguće, zbog neće biti teško da se prisete na koju Capinu fotografiju se odnosi njegove prepoznatljivosti, reproducirati u analiza u članku našeg saradnika. Na ovu zabelešku smo se 8 odlučili zato da objasnimo zašto smo uz članak objavili sve druge različitim kontekstima. Capova fotografija ključne fotografije (za sve smo dobili ljubaznu dozvolu autora tako danas nije više samo svjedočanstvo o ili institucija u kojima su pohranjene njihove fotografije da ih žrtvama građanskog rata u Španjolskoj – o smemo reprodukovati bez ikakve naknade) osim ove jedne, ali i zbog toga da i ovom prilikom ukažemo na bezobzirnost i potpunu grozotama tog rata postoji uostalom obimna socijalnu neosetljivost organizacija koje trguju autorskim pravima dolumentarna građa – , ona je postala simbol, i čija uloga nije u tome da štite prava autora nego je njihov jedini i a tijelo palog borca protiv fašizma nerazdruživi isključivi motiv profit. dio svjetske ikonoteke ratne koreografije. može iskoristiti u propagandne svrhe. Jedna partizanska koreografija ● od tih kontroverzi je pitanje autentičnosti U ratovima se masovno gine, ali u njima se snimljene fotografije: da li je snimljeni prizor ponekad i pleše. Fotografije plesnih prizora dokumentarno svjedočanstvo autentičnog znatno su rijeđe, a kada su ti prizori i uhvaćeni događaja ili je možda režiran/koreografiran za u objektiv nekog ratnog fotoreportera, onda se objektiv fotoaparata? To pitanje postavilo se je uglavnom radi o participativnim oblicima plesa, već u slučaju historijski prve vojne fotografije, poput društvenih plesova, kola i slično, a vrlo koja je nastala na samoj liniji fronte, a koju rijetko o solo nastupima plesača/ica, pogotovo je snimio legendarni ratni reporter Robert npr. modernog plesa. Zahvaljujući partizanskom Capa 1936, na samom početku španjolskog ratnom fotografu Joži Peteku (koji nažalost nije građanskog rata. Radi se o čuvenoj fotografiji ☐ Plesni solo Marte Paulin – Brine za partizanske borce Rapske preživio rat, ali njegove fotografije jesu i danas republikanskog borca koji pada pokošen metkom brigade (Jože Petek, 1943.) su pohranjene u ljubljanskom Muzeju novije ispaljenim od strane frankističkih pučista. povijesti Slovenije) imamo nekoliko fascinantnih Ubrzo nakon što je snimljena fotografiju je Poznato je (i dokazano) da se je tom metodom fotografija Marte Paulin, s partizanskim imenom objavio francuski časopis Vu, a nakon njega i u nekim slučajevima koristio i Capa, ali sve do Brina, koja pleše na travnatoj ledini pred brojnim drugi, uključujući i Life godinu dana kasnije. danas ostalo je otvoreno pitanje da li je tako bilo borcima novoosnovane partizanske Rapske U vrijeme kad je nastala nitko nije postavio i u slučaju čuvene fotografije iz 1936. O upotrebi brigade.9 Marta Paulin je bila 30tih godina učenica pitanje o njenoj autentičnosti i njeno objavljivanje fotografije u propagandne svrhe i potrebi ratnih Mete Vidmar, koja je u Ljubljani osnovala školu u medijima ponukalo je dobrovoljce iz mnogih fotoreportera (ili njihovih cenzora) da prizore na modernog plesa, nakon što je 1927. uspješno zemalja da se upute u Španjolsku kako bi pomogli fotografijama prilagode za pogled javnosti, piše završila plesnu školu Mary Wigman u Drezdenu. legalno izabranoj ljevičarskoj vladi u obrani Susan Sontag u svojoj zadnjoj knjizi Regarding republike od fašizma. Puno kasnije, sredinom the Pain of Others (O patnji drugih). Između je pali borac pozirao pred Capovim fotoaparatom, ta fotografija izgubila bi svu svoju vrijednost.“ (Ibid, 51) Upravo u tome treba 70tih godina, pojavile su se prve sumnje u autorstva slike (ili crteža) i fotografije bitna je tražiti razloge da se sve od 70tih godina do danas još uvijek vode autentičnost fotografije; postavilo se je pitanje razlika u tome kako prosuđujemo autentičnost: žučne polemike o autentičnosti Capove fotografije, o čemu je da li je Capa zaista uspio snimiti republikanskog prije nekoliko godina snimljen i dokumentarni film (La sombra del iceberg, 2007). Nedavno su bili otkriveni negativi fotografija, koje vojnika u trenutku pogibije ili se možda radilo o Za sliku ili crtež kažemo da je krivotvorina ako je Capa snimio u Španjolskoj, a za koje je sve do tada vjerovalo odigranom prizoru. Mnogi ratni reporteri ponekad se ustanovi da ju nije nacrtao umjetnik, kojega da su izgubljeni, ali među njima nije pronađen negativ te čuvene su naime fotografirali inscenirane prizore borbe se je smatralo njenim autorom. S druge strane, fotografije. Negativi su pohranjeni u Međunarodnom centru fotografije (International Center of Photography) u New Yorku, kako bi njihove fotografije dobile na atraktivnosti, za fotografiju – ili snimljeni dokument, koji je kojega je ustanovio Capov brat Cornell. a često i na kvaliteti, koju je bilo znatno lakše dostupan na televiziji ili internetu – kažemo da je 8 Kao uostalom i u slučaju mnogih drugih ratnih fotografija, čak postići u kontroliranim uvjetima režirane akcije krivotvorina ako se ustanovi da prikazani prizor i onih za koje je nesporno dokazano da su bile inscenirane, poput 6 znamenite fotografije podizanja američke zastave na japanskom nego u kaotičnim situacijama ratnih djelovanja. služi obmanjivanju gledaoca. (Sontag 2006, 43) otoku Iwo Jima potkraj Drugog svjetskog rata, koju je snimio Joe Rosenthal, fotograf Associated Pressa. Od svog nastanka do 6 Prve ratne fotografije, koje je snimio Roger Fenton sredinom Za dokumentarnu fotografiju je ključna upravo danas fotografija je doživjela bezbroj reprodukcija i parafraza 19. stoljeća u vrijeme Krimskog rata, nastale su postupkom u mnogim medijima, uključujući i kazalište; osobno znam za osvjetljavanja od čak 15 sekundi. Vojnici na slikama su mu morali autentičnost prizora, zato bi eventualni dokaz barem jednu od njih – prije desetka godina taj se prizor pojavio pozirati, sastavljeni u svojevrsne tableaux vivants, žive slike ljudi da je bio prizor na Capovoj fotografiji insceniran, u predstavi Ribcage / Rebro kao zeleni zidovi kazališne grupe zamrznutih pokreta, kako bi fotografiranje uopće bilo tehnički smatra Sontag, imao razorni učinak na njezin BADco. iz Zagreba. izvedivo. Fotografiranje prizora u trenucima borbe postalo je 7 9 Brigada se zvala „Rapska“ jer je bila formirana od nekadašnjih moguće tek nakon što su bili konstruirani laki prenosivi aparati, status vjerodostojnog historijskog dokumenta. zatočenika fašističkog koncentracijskog kampa na otoku Rabu, koji su se mogli koristiti bez stativa, a osvjetljavanje filma trajalo koji su tamo bili internirani do kapitulacije Italije u septembru je vrlo kratko. Osim toga su te nove kamere (standardizirane Leica ta tehnološka novotarija bila je preduvjet da je njegova znamenita 1943, a nakon toga su bili prebačeni većim dijelom u Sloveniju. kamere od 1932.) koristile 35-milimetarske filmove, koje je bilo fotografija pogođenog borca uopće mogla nastati. Zbog iscrpljenosti boraca jedinica nije dugo djelovala kao moguće osvijetliti čak 36 puta, nakon čega se je u aparat umetalo 7 „Poanta ‘Smrti republikanskog borca’ je u tome da se radi o samostalna brigada; nakon što je rasformirana njeni borci bili su novu filmsku traku. Takvu kameru koristio je Robert Capa i upravo slučajno uhvaćenom trenutku realnosti; ako bi se ustanovilo da raspoređeni u druge partizanske jedinice. 18 TkH 21 Društvena koreografija Aldo Milohnić

U augustu 1943. je otišla u partizane i postala članica kulturne grupe 14. divizije, u kojoj je bio njezin suborac, između ostalih, i legendarni slovenski pjesnik Karel Destovnik Kajuh. Marta Paulin se je tako opredjelila za sudjelovanje u revoluciji, u kojoj je mogla plesati, kako bi (vjerojatno) rekla Emma Goldman.10 Svoje plesne nastupe u partizanima sama je opisala tridesetak godina kasnije u memoarskoj bilješci:

Postala sam plesačica na pozornici u prirodi. Umjesto na kazališnim daskama odjednom plešem gdjegod bilo. Osjećaj ravnoteže ponovo je postao „problem“. Muskulatura je djelovala drugačije, jer je noga tražila uporište čas na kamenitom čas na mekom tlu. To je bilo prvo što sam primjetila. Ali nakon toga došlo je i drugo. Taj neizmjerni prirodni prostor daje mogućnost i traži velik razmah u pokretu. Iz malog pokreta u zatvorenom kazalištu nastane na otvorenoj prirodnoj pozornici cijeli pohod. Ako sam htjela savladati taj ogroman prostor i u njemu biti svoje sraslosti s narodnim pokretom otpora ☐ Akcija Izbris (Denis Sarkić, 2003.) prihvaćena, plesni pokreti morali su postati veliki, približila idealima avangarde, budući da se jasni, široki. [...] Kada sam kao plesačica stajala je, kako je primjetio povjesničar partizanske moguća u okvirima buržoaskog društva, jer je sama pred mnoštvom boraca i postala svjesna da umjetnosti Miklavž Komelj, „u najprimitivnijim potrebna radikalna promjena tog društva i ne ću biti u stanju sa svojim plesnim darom i slabašnim uvjetima tako zapravo ostvarilo ono za samo umjetnosti kao takve. O tome da radikalna tijelom izraziti ono što nas je povezivalo, da ću moći što se je zalagalo avangardno kazalište“ reforma umjetničke prakse nije dovoljna ukoliko savladati čak i neizmjerni prirodni prostor, osjećala (Komelj 2009, 120), a to je neposredna i se istovremeno ne dogode i radikalne promjene sam snagu u nogama dok sam gazila tvrdu zemlju. nerazlučiva povezanost izvođača i publike.11 u društvu, govore nam naime upravo iskustva Ruke su osjećale širinu šume i penjale se preko Razdoblja u kojima dolazi do masovnih avangardnih i neoavangardnih pokreta u 20. vrhova stabala. U mojem plesu nije bilo nikakvog pokreta otpora, u kojima nerijetko sudjeluju i stoljeću. O tome nam govore i umjetničke imitiranja, koje bi proizlazilo iz formalističkih pokreta. umjetnici najrazličitijih profila i provinijencija, prakse koje nastaju u turbuletnim situacijama Odbacila sam skoro sve što sam se „naučila“ u kao što su npr. antifašistički pokreti (građanski društvenih promjena i koje su na neki sebi godinama plesnog studija, tražila sam izvoran, rat u Španjolskoj, narodnooslobodilačka borba svojstven način uključene u ideološku borbu svjež plesni izraz, koji proizlazi iz čovjekove životne u Jugoslaviji itd), antikolonijalistički pokreti, u za pokretanje, postizavanje i interpretaciju tih potrebe da se kreće. (Paulin 1975, 25-26) novije vrijeme i pokreti za zaštitu ljudskih prava promjena. Estetska profinjenost umjetnosti raznih manjina, protesti protiv korumpiranih otpora je upravo u njenoj neopterećenosti Marta Paulin – Brina, jedna od najtalentiranijih političkih elita, diktature kapitala i samodržaca estetskim obzirima. Ako svatko može plesati, pionirki modernog plesa u Sloveniji, već nakon raznih boja i usmjerenja itd, možda su kako je tvrdio Laban, onda za svakoga mora pola godine provedene u partizanima završila ponajbolji primjeri onoga što Hewitt naziva biti mjesta i u koreografiji otpora, jer nikome je nažalost svoju karijeru aktivne plesačice jer performativnom (ili integrativnom) estetskom ne smije biti uskraćeno pravo da revoluciju su joj se za vrijeme pohoda 14. brigade u ideologijom, koju postavlja nasuprot (tipično otpleše onako kako najbolje zna i može. Kada Štajerskoj smrzle noge. Ali fotografije Jože buržoaskoj) mimetičkoj estetskoj ideologiji.12 je u vrijeme opsade Sarajeva sredinom 90tih Peteka zabilježile su na sreću barem neke Do te performativne odnosno integrativne Haris Pašović pokrenuo Internacionalni filmski prizore iz kratke karijere partizanske plesačice umjetnosti može se doći jedino putem radikalne festival novinari su ga navodno pitali: „Zašto Brine i zato su od neprocijenjive vrijednosti reforme umjetničke sfere, ali problem je u filmski festival za vrijeme rata?“, na što im je za povijest slovenskog plesnog modernizma, tome da promjena položaja umjetnosti nije on odgovorio protupitanjem: „A zašto rat za koji je na sebi svojstven način (za)živio čak i vrijeme filmskog festivala?“ Sarajevski glumac u ekstremnim uvjetima partizanske borbe. Ta 11 U izvještaju o svečanoj zakletvi Rapske brigade i kulturnom Zoran Bećić, koji je također na vlastitoj koži programu, u kojem je sa svojim solo plesnim nastupom svojevrsna partizanska koreografija se je zbog sudjelovala i Marta Paulin – Brina, piše između ostaloga da iskusio život u ratnom Sarajevu, pokušao je je bilo raspoloženje boraca za vrijeme kulturnog programa objasniti u čemu je bio smisao tvrdoglavog „veličanstveno“ i da nije bilo razlike između „onih koji su nastupali igranja predstava pod kišom granata: 10 Radi se naravno o poznatoj rečenici te čuvene feministkinje i onih koji su gledali“. (Original izvještaja se nalazi u Vojnom arhivu i anarhistkinje: „Ako ne mogu plesati, ne želim biti u vašoj u Beogradu, a ja navodim prema prijepisu u: Potočnik 1975, 278.) revoluciji.“ (If I can't dance I don't want to be in your revolution.) 12 Mimetička bi estetička ideologija bila ona u kojoj umjetničko Ja nisam učestvovao u teatru koji je Ali ni ta rečenica nema oslonca u povijesnim činjenicama, jer predstavljanje boljeg života služi da publiku oslijepi spram glorifikovao nekakvu politiku, nekakvu stranku, je Emma Goldman nikada nije ni izrekla ni napisala. Rečenicu društvene stvarnosti u kojoj živi. [...] Estetičko nas zadovoljavanje je smislio (i iskoristio je kao propagandni slogan, otisnut na pukim „simbolom“ društvene utopije odvraća od političke nekakvu platformu. Moj teatar se bukvalno T-majicama) američki anarhistički aktivist početkom 70tih godina prakse nužne da bi se utopijsko stanje ostvarilo u stvarnosti. borio za život, za život grada i građana, za život kao moguću parafrazu odlomka iz njene autobiografske knjige Umjetnost služi kao mrva utjehe za neostvareno političko umjetničke kreacije.“ (Diklić 2004, 35) Living My Life, što je iz prve ruke potvrdila Alix Kates Shulman prije djelovanje. [...] S druge strane, ono što nazivam izvedbenom ili dvadesetak godina u članku „Dances with Feminists“ (Shulman integrativnom estetičkom ideologijom jest ona u kojoj umjetnost 1991). Kao i Robert Capa, Emma Goldman je učestvovala čini više od samo lažnog predstavljanja, u palijativnom smislu, U takvoj umjetnosti oruđe umjetničkog u španjolskom građanskom ratu i pomagala španjolskim postojećeg društvenog poretka. Umjesto toga, estetičko tu izraza neminovno se pretvara u oružje anarhistima u širenju informacija o borbama s Francovim fašistima postaje područjem u kojem se novi društveni poretci proizvode (npr. brinula je za korespondenciju na engleskom jeziku i uređivala (a ne predstavljaju) i u kojem je moguća integracija svih članova otpora – u skladu s Brechtovim geslom: englesko izdanje anarho-sindikalističkog biltena). društva. (Hewitt 2005, 21) „Knjiga je oružje, uzmi je u ruke!“ i na način Koreografije otpora Društvena koreografija TkH 21 19 kako je svoj ples i poeziju njenog ratnog performativno-političkih praksi nalazimo u okviru rekuperirati i vratiti ih kao bumerang onima, koji druga, pjesnika Kajuha, shvaćala partizanska gotov svih velikih emancipatornih pokreta prošlog su ih izvorno odaslali u javnost kao ofanzivno plesačica Brina: „Kao stvaralac plesnog stoljeća, npr. „proletkult“ u vrijeme sovjetske konstruirane verbalne ili ikoničke degradacije. izričaja stala sam uz bok pjesniku, kojemu revolucije, „urgentni teatar“ (teatro de urgencia) Značajnu akciju takvog tipa izveli su izbrisani je bila poezija oružje.“ (Paulin 1975, 26) u španjolskom građanskom ratu, „frontovski i drugi aktivisti prije sada već punih deset godina Umjetnost koja samu sebe doživljava kao teatar“ (frontno gledališče) slovenskih (8. oktobra 2003.) ispred zgrade slovenskog „oružje“ može biti samo ona umjetnost koja se je partizana u vrijeme Drugog svjetskog rata itd. parlamenta u centru Ljubljane. Aktivisti i radikalno odrekla vlastitoj autonomiji i koja – ne aktivistice odjeveni u bijele kombinezone, nasuprot već upravo u skladu s tom pozicijom Metoda subverzivne zauzeli su cestu ispred zgrade, legli na asfalt – ne tvrdi da može biti nadomjestak za oružanu reaproprijacije u koreografijama i vlastitim tijelima ispisali desetmetarski borbu u vrijeme rata ili političku borbu u vrijeme otpora ● Na kraju ovog priloga, koji je, kako natpis „IZBRIS“. S obje strane su one koji su mira. Osobito u trenucima rađanja masovnih sam naglasio već u uvodu, tek preliminarno ležali na asfaltu od automobila štitili aktivisti pokreta otpora protiv militarističkog, fizičkog, razmišljanje o koreografijama otpora, dakle koji su držali transparente s nacrtanim verbalnog, strukturnog ili nekog drugog oblika o nečemu što u ovom ogledu ne može biti prometnim znakom zabrane zaustavljanja i nasilja, obično dolazi do organskog sraštanja više od hibridnog konstrukta, želio bih barem natpisom: „Vozi dalje! Ne postojimo“. Akcija je prethodno razdvojenih, „autonomiziranih“ sfera naznačiti neke moguće paralele sa suvremenim bila isprovocirana izjavama nekih političara, umjetnosti i politike, koje više ne možemo aktivističko-performativnim praksama u Sloveniji. uključujući i parlamentarne zastupnike, koji adekvatno imenovati starim, od naslaga tradicije O nekima od njih već sam pisao u više navrata su tvrdili da izbrisani „ne postoje“, da su ih i ideologije, opterećenim pojmovima. Kovanje (cf. npr. Milohnić 2005 i 2013) i ovdje mogu samo izmislili „neprijatelji slovenske državnosti“, da novih ili hibridnih pojmova (poput mog pokušaja ukratko upozoriti na ta ranija opažanja, a o su se ti ljudi „sami izbrisali“ i slične političke s „artivizmom“) vidljivi je izraz te teoretske nekima bi trebalo tek razviti detaljniju analizu u budalaštine. Ovom akcijom aktivisti su upozorili frustracije i ujedno pokušaj da se otvori prostor posebnom članku. Za ovu priliku izdvojio bih samo na eklatantna kršenja ljudskih prava izbrisanih i za teoretsko promišljanje nečega što se događa dva primjera koja su zanimljiva za promišljanje to na način da su reapropriirali tvrdnje političara ovdje i sada, pred našim očima, u što smo i oblika koreografiranja otpora i zasnivaju se o „nepostojećim izbrisanim“. Izvornu poruku sami na ovaj ili onaj način upleteni, i svjesni na duhovitom korištenju metode subverzivne vratili su tim političarima u izokrenutom obliku smo da iziskuje trenutačnu refleksiju, a nove, reaproprijacije – prisvajanja ili posvajanja i u skladu s autonomističkom tradicijom koja adekvatnije teoretske alate za njenu provedbu prvotno ozloglašavajućih, difamacijskih izraza proizlazi iz koncepta upotrebe vlastitog tijela moramo tek iz(g)raditi. Ali to naravno nije nešto ili prispodoba, kojima su određene društvene kao sredstva za neposredno političko djelovanje. što bi bilo specifično samo za današnje oblike grupacije prvotno bile napadnute, ali su ih same otpora, jer slične pokušaje opojmljavanja novih te grupacije vlastitim angažmanom uspjele ☐ Ustanak „zombija“ (Miha Fras, 2013.) 20 TkH 21 Društvena koreografija Aldo Milohnić

Akcija Izbris bila je strukturirana kao gestični ovoga puta to nisu bili (samo) izbrisani nego potreba, pokušavaju vratiti u život kao, kako performativ koji neodvojivo povezuje gestu i i svi oni koje desno usmjerena politička elita kaže Gonzalo, „senke jednog drugog doba, izjavu ili, drugim riječima, tijelo i označitelja. Ako smatra „duhovima prošlosti“, komunističkim rasklimatane leševe lingvističkih konstrukcija je klasična (Austinova) definicija performativa „živim mrtvacima“, ukratko, „zombijima“. Val koje su jedino odraz sivila proteklih vekova, da „iskazati rečenicu (razume se, u za to masovnih ustanaka proti korumpirane političke paučine sopstvene beskorisnosti“. (Ibid, 97) podesnim okolnostima) ne znači opisati ono elite krenuo je početkom zime 2012. u Mariboru što se čini, za šta bi onda trebalo reći kako kao protest protiv lokalnih vlasti na čelu sa Umjesto nekog konkretnog i koherentnog tu već sámo iskazivanje da se nešto čini ili gradonačelnikom Francom Kanglerom, protiv zaključka, na kraju ovog još pomalo heterogenog pak tvrđenje da se to i to čini – znači to i to kojega je u toku više sudskih procesa zbog teorijskog „djela-u-nastajanju“, želio bih samo činiti“ (Austin 1990, 17), onda možemo reći da raznih sumnjivih poslova na štetu grada i u izraziti nadu da predloženi koncept koreografije je uvođenje gestičnog performativa pokušaj korist Kanglerovog džepa. Iz Maribora se je otpora ipak neće prebrzo završiti u katalogu širenja govornog čina na područje vizualnog: val masovnih demonstracija proširio po cijeloj zombijevskih kategorija, barem ne prije nego fizičkog i tjelesnog čina, geste, grafizma i slično, Sloveniji, a nekoliko najmasovnijih održano doživi temeljitiju i opsežniju eksplikaciju, za ukratko neverbalnih ali još uvijek performativnih je u Ljubljani početkom ove godine, gdje se je koju je prethodno potrebno izvesti istraživanje činova. Fizički čin stvara privid govornog čina: protestiralo protiv premijera desničarske vlade brojnih i inspirativnih koreografija otpora tijela aktivista koja izvorno djeluju u području Janeza Janše i protiv samozvanog ljevičara (a u 20. i u prvoj dekadi 21. stoljeća. ■ izvođenja (actio), materijalnošću svojih tijela zapravo jednog od većih tajkuna u Sloveniji), doslovno inkorporiraju izjavu i tako ulaze gradonačelnika Ljubljane Zorana Jankovića. reference: u područje izricanja (pronuntiatio) koje je Pod pritiskom javnosti i izvještaja Komisije za Althusser, Louis, “O razmerju umetnosti do spoznanja in ideologije”, u: Zoja Skušek Močnik (ur.), Ideologija in estetski inače neverbalno, ali unatoč tome rječito. Ta sprečavanje korupcije, u kojem su upravo ta učinek, Cankarjeva založba, Ljubljana, 1980, str. 322-327 akcionistička korpografija proizvodi metaforičko dva političara bila osumnjičena da ne znaju Austin, John, Kako delovati rečima, Matica srpska, Novi Sad, zgušnjavanje: performativna dimenzija izjave objasniti izvor novca kojim su stekli pozamašnu 1994. Balibar, Étienne i Macherey, Pierre, „Sur la littérature „izbris“ je baš njezino iscrtavanje tijelima. imovinu (osobito Janković), raspala se Janšina comme forme idéologique: quelques hypothèses marxistes“, Apsurdnost položaja u kojem se našlo vlada, a Janković je morao odustati od apetita Littérature god. 13, br. 4, 1974, str. 29-48 preko 25 tisuća stanovnika Slovenije, koje je da postane novi premijer. U to vrijeme na Diklić, Davor, Teatar u ratnom Sarajevu 1992–1995. birokratska pamet pretvorila u „mrtve duše“, internetnoj stranici Janšine stranke SDS pojavila Svjedočanstva, Kamerni teatar 55 i Most Art, Sarajevo – Zemun, 2004. ironično prikazuje transparent koji vozačima se tvrdnja da iza protesta stoji „komunistička Duncan, Isadora, “Plesačica budućnosti”, u: Selma Jeanne poručuje da se ne obaziru na događanje ispred internacionala“ i da se tu ne radi o ustanku Cohen (ur.), Ples kao kazališna umjetnost, cekade, Zagreb, 1988, zgrade parlamenta, jer njegovi akteri „ne naroda nego o „ustanku zombija“. Tu izjavu su str. 149-155 Gonzalo, Jorge Fernández, Filozofija zombija, Geopolitika, postoje“. Drugim riječima (i u žargonu suvremene učesnici protesta smjesta reapropriirali i krenulo Beograd, 2012. teorije performansa), poigravanje implicitnom je masovno kostimiranje u zombije, koji su već hewitt, Andrew, Social Choreography. Ideology as Performance metaforikom mrtvih duša aktivistima je na idućim demonstracijama preplavili Ljubljanu. in Dance and Everyday Movement, Duke University Press, Durham and London, 2005. omogućilo da su neki događaj (performance) Difamacijska psovka Janševe stranke pobudila Komelj, Miklavž, Kako misliti partizansko umetnost?, Založba označili kao nedogađaj (afformance): ako je val korpografske i koreografske kreativnosti /*cf, Ljubljana, 2009. ključni akteri nekog događaja „ne postoje“, kod demonstranata, jer među njima valjda Kunst, Bojana, Nemogoče telo. Telo in stroj: gledališče, reprezentacija telesa in razmerje do umetnega, Maska, Ljubljana, onda bi bilo moguće zaključiti da nema ni nema baš nikoga tko nije gledao bar jedan film 1999. događaja kao takvog. Međutim, kako je za o zombijima, kojih se od Romerove Noći živih Macherey, Pierre, Pour une théorie de la production littéraire, performativni čin karakteristično da izjava nije mrtvaca (Night of the Living Dead, 1968) nakupilo François Maspero, Pariz, 1966. niti stvarna niti nestvarna moramo poći od za cijelu jednu filmografiju. A tu je još i cijeli niz Marcuse, Herbert, “O afirmativnom karakteru kulture”, u: isti, Kultura i društvo, BIGZ, Beograd, 1977, str. 41-72 pretpostavke da konstatirajuća razina izjave artefakata iz riznice pop-kulture, od romana, Marx, Karl, „Uvod u Kritiku političke ekonomije”, u: Marx – nema neposrednih posljedica na materijalnost kratkih priča i stripova, do TV serija i video-igara Engels, Glavni radovi Marxa i Engelsa, Stvarnost, Zagreb, 1978, čina pa stoga performativna priroda tako o zombijima, da niti ne spominjemo cijelu jednu str. 603-623 Medvedev, Pavel N, Formalni metod u nauci o književnosti. konstruirane situacije uspostavlja položaj mitologiju živih mrtvaca, koji još od srednjeg Kritički uvod u sociološku poetiku, Nolit, Beograd, 1976. u kojem čin već svojim postojanjem kao vijeka plešu svoje mrtvačke plesove na crkvenim Milohnić, Aldo, „Direct Action and Radical Performance”, takvim stvara mogućnost vlastite negacije freskama. Bivši slovenski premijer kao da je Performance Research god. 10, br. 2, 2005, str. 47-58 Milohnić, Aldo, „Artivizam”, u: isti, Teorije savremenog teatra i ili, drugim riječima, jamči konstelaciju u kojoj gubitkom vlasti podlegao maniji proganjanja performansa, Orion art, Beograd, 2013, str. 131-148 je i nedogađaj događaj. Kako tu okolnost od zombija, o kojoj u nedavno objavljenoj Paulin, Marta – Brina, „Plesna umetnost v partizanih”, u: Filip spoznajemo već na intuitivnoj razini, izjavi „ne knjizi Filozofija zombija piše Jorge Fernández Kalan et al., Partizanska umetnost, Zveza kulturno-prosvetnih organizacij Slovenije i Delavska enotnost, Ljubljana, 1975, str. postojimo“ pripisujemo ironično značenje i Gonzalo: „Zombi je onaj drugi, u njemu vidim 20-27 odmah je razumijemo kao dosjetku koja upućuje sopstveni odraz, kužni odraz usled raspadanja potočnik, Franc, Koncentracijsko taborišče Rab, Založba Lipa, na apsurdnost položaja izbrisanih i ujedno tela. Minimalna razlika između jednog i drugog, Kopar, 1975. uprkos maksimalnoj udaljenosti koja treba da Shulman, Alix Kates, „Dances with Feminists“, Women’s nudi ključ za čitanje cjelokupnog događaja. Review of Books god. 9, br. 3, decembar 1991, http://sunsite3. Za direktnu akciju Izbris, kao i za druge slične se prevali između života i smrti.“ (Gonzalo 2012, berkeley.edu/Goldman/Features/dances_shulman.html akcije, ključna je upotreba tijela koje više nije 29) U drugoj deceniji 21. vijeka plašiti ljude Sontag, Susan, Pogled na bolečino drugega, Sophia, Ljubljana, reprezentativno, već konstitutivno i kao takvo zavjerama nekakvih fantomskih „komunističkih 2006. Wigman, Mary, „Filozofija modernog plesa“, u: Selma Jeanne upregnuto u suvremene prakse otpora. Slične internacionala“ najviše govori paranoičnom Cohen (ur), Ples kao kazališna umjetnost, cekade, Zagreb, 1988, korpografičke upotrebe tijela poznajemo kako umu onoga koji koristi takve kvalifikacije str. 177-182 iz prošlih umjetničkih praksi, posebno u polju da bi diskreditirao političkog protivnika. umjetnosti performansa (performance art) Upravo te „zombijevske kategorije“, kako ih i akcionističkog slikarstva, tako i u novijim naziva Ulrich Beck, kao mrtvi konceptualni političkim inicijativama. U novije vrijeme došlo okviri pritišću mozgove živih političkih je do novog ustanka onih koji „ne postoje“, mrtvaca, koji ih, zbog vlastitih ideoloških “Crni talas” jugoslovenskog sleta Društvena koreografija TkH 21 21 “Crni talas” jugoslovenskog sleta: Dan mladosti 1987. i 1988.

Ana vujanović ● ● Slet je oblik i objašnjenje njegove društvene funkcije. Pre sokolana (gimnastičkih hala), jer je u Sokolskom masovne priredbe koja se u doba socijalističke svega, poznato je da je Tito veoma računao na pokretu prepoznao ideološki instrument svoje Jugoslavije izvodila raznim prigodama, a „omladince” i pokušavao da napravi direktnu vezu unitarističke politike integralnog jugoslovenstva. najpoznatiji i najspektakularniji među njima između sebe i njih, te ih je govorima interpelirao Ono što je za slet za Dan mladosti važno istaći je slet za Dan mladosti, koji se održavao 25. kao one koji će nastaviti tamo gde je starija, kod sokolskih sletova jeste njihov, s jedne strane maja na stadionu JNA u Beogradu. On je bio njegova generacija stala. No ne samo po sebi. Da masovni, a s druge amaterski karakter. Iako je u centralna i završna priredba Dana mladosti, bi omladinci mogli da nastave revolucionalnim Jugoslaviji nakon Drugog svetskog rata sokolski kojoj je prethodila Štafeta mladosti. Štafeta putem, koji je uključivao i rad i odbrambeni rat, pokret zadugo bio rasturen, forma sokolske bila je oblik ceremonijalnog masovnog trčanja, oni su morali biti zdravi, snažni i fizički i duhovno tradicije nošenja štafete vladaru i organizovanja u kojem su od 1945. stotine hiljada omladinaca kultivisani i izdržljivi. A koliko su zdravi, snažni, sletova zadržana je, mada joj je ideološki smisao pretrčavale svake godine desetine hiljada kultivisani i izdržljivi najbolje su mogli pokazati promenjen.3 Pored Sokola, u istoriju sleta za kilometara širom Jugoslavije, predajući iz ruke spektakularnom samoizvedbom u sletu. Dan mladosti treba uključiti nemački gimnastički u ruku palicu sa rođendanskom čestitkom Slet je imenica slovenskog porekla koja pokret Turnverein iz 19. veka, koji je inicirao jugoslovenskom predsedniku, Titu.1 Od 1957, na označava sletanje ptica u jatu, njihovo gimnastički trener Friedrich Ludwig Jahn u Titov predlog, njegov rođendan je postao Dan okupljanje na tlu i pre nego što je postala naziv Berlinu 1811, dok je svoj puni zamah dobio oko mladosti a Titova štafeta je preimenovana u za socijalističke masovne priredbe koristila revolucionarne 1848. Iako je istorija pokreta Štafetu mladosti. Ipak, do kraja života, 1980. on se za sličan tip priredbe u okviru sokolskog bila veoma burna, mogli bismo reći da su je ostao „glavni slavljenik” Dana mladosti – onaj pokreta u 19. i početkom 20. veka. Pokret nemački gimnastičari po svojoj nacionalističkoj koji je primao štafetu sa čestitkom i zauzimao je iniciran u Češkoj 1862, od strane filozofa matrici – koja bi kroz gimnastičke klubove počasno mesto u gledalištu stadiona.2 Ovo i istoričara umetnosti Miroslava Tyrša, kao i festivale trebalo da doprinese ujedinjenju direktno spajanje proslave Titovog rođendana i pokret nacionalnog buđenja koje je trebalo da Nemaca, kao i fizičkom i moralnom osnaženju slavljenja mladosti deluje neobično ako se ima vodi oslobođenju od Austrougarskog carstva. naroda – ideološki bliski Sokolima. Treća linija u vidu da on sam od početka te tradicije nije bio U osnovi dakle nacionalistički, pokret se ubrzo geneze sleta za Dan mladosti odlazi od ovog mlad – 1957. je napunio 65 godina – pa da je proširio ostalim teritorijama Austro-Ugarske romantičarskog okvira i vezuje ga preko štafete time mogao postati simbol mladosti. Razlog je, naseljenim slovenskim stanovništvom i postao za jedan ideološki drugačiji devetnaestovekovni naravno, drugde i vodi direktno u istoriju sleta transnacionalni (panslavistički) emancipatorski i oslobodilački pokret. U Kraljevini SHS i 3 Pitanje kako je to moguće otvara i dalekosežno pitanje 1 „Najmasovniji je bio događaj iz 1952. godine, kada je desetine Jugoslaviji Sokoli su postali popularni naročito u o relevantnosti socijalne koreografije ako se analitički fokus glavnih i lokalnih štafeta nosilo preko 1.550.000 Jugoslovena koji doba Kralja Aleksandra, čiji će sin, Kralj Petar II ne postavi izvan koreografije kao fenomena, u njen estetski su pretrčali 130.000km.” (Grigorov 2008, 109) kontinuum u kontekstu. Vid. o (dis)kontinuitetu sokolskog 2 Sletovi za Dan mladosti nastavili su se i nakon Titove smrti, Karađorđević postati i sokolski starešina. Kralj i socijalističkog sleta u Manojlović 2004, Grigorov 2008. i pod nazivom „I posle Tita – Tito”. ih je i simbolično podržavao i pomagao izgradnju Jakovljević 2008. 22 TkH 21 Društvena koreografija Ana Vujanović pokret – pokret oživljavanja Olimpijskih igara. Nasuprot Sokolima i Turnvereinu, njegova ideologija je bila izrazito internacionalistička i ticala se univerzalnog čovečanstva, no ipak forma priredbe i palica (baklja/štafeta) su slične, što zadržavaju i današnje Olimpijske igre kao globalni sportsko-medijski događaj. U ranom 20. veku, slet za Dan mladosti ima dva, opet ideološki oprečna prethodnika: komunističke priredbe i parade u Sovjetskom savezu i nacističke u Nemačkoj. Iako se jugoslovenska socijalistička ideologija ne može olako dovesti vezu ni sa jednom od ove dve, slet za Dan mladosti im duguje ideal mladosti, snage i fizičke i duhovne kulture i izdržljivosti kao otelovljenja revolucije i formu javne izvedbe kolektivizma. Pored toga, retorika sleta za Dan mladosti pa i Titovih govora tim povodom gotovo da ne odstupa od vitalističkog svetonazora koji je uveo Černiševski romanom Šta da se radi?, a čijim je „novim čovekom” Lenjin bio toliko inspirisan da je i svoj čuveni pamflet naslovio isto. Pored usvajanja vizije novog čoveka, koji ostvarujući svoje fizičke a putem njih i duhovne potencijale postaje subjekt revolucije, vredno je pomena određene društveno-političke agende. No čini ☐ Slet za Dan mladosti, 1987. da je na tom svetonazoru u postrevolucionalnoj mi se da i pored toga ostaje čitav niz pitanja atmosferi SSSRa sport postao deo kulture. Tako je o sintaksi i semiotici određenog sleta, u poslednjih sletova obratiću podjednaku pažnju promovisana „fiskultura”, kao priprema omladine odnosu na druge sletove i u odnosu na njegovo na koreografiju i njenu izvedbu, postavljajući ih za rad i vojnu odbranu, a koja je zahvaljujući društveno okruženje, kako bismo iz razlika i u specifičan kontekst. Na taj način, pokušaću ideolozima Proletkulta opet rezultirala masovnim odnosa došli do politički relevantnog zaključka. da pokažem: da slet kao društvena koreografija participativnim priredbama između sporta i Ako je kolektivizam – koji kolektivizam, na pokazuje ne kako je izgledalo jugoslovensko umetnosti – nalik sokolskim sletovima.4 čemu zasnovan i kolektivizam u čemu? Ako je društvo već kako je jugoslovenska država Na kraju ovog kratkog istorijskog osvrta bih u pitanju ostvarenje revolucionalnih ciljeva – predstavljala sebe u javnom prostoru kao primetila da su ideološke razlike između različitih koje revolucije, kada i u kom društvu? I tako model društvenog tela i da je izvedba sleta sletova velike (nacionalizam, internacionalizam, dalje. Bez toga, bojim se da slet en general kao dinamičan sistem gestova koji otelovljuju nacizam, komunizam), a njhove formalne sličnosti ni sa svim tačkama koje spajaju njegove taj model takođe i mesto kolapsa na kojem se čine slet kolektivističkom i egalitarističkom varijacije ne može puno toga reći ni o sebi pojavljuju nečitljivi pokreti, ne-gestovi, kao izvedbom bilo koje društvene agende koja kao društvenoj koreografiji niti o koreografiji otelovljenje „koreografski nesvesnog” sleta, teži što monolitnijoj društvenoj podršci, jer društva koju promoviše i isprobava. koje očituje nemoć socijalističke države da se zasniva na masovnim koreografijama i postane jedno sa sopstvenim društvom. unisonom izvođenju. Stoga, specifičnija estetska Radi preciznosti u analizi, iz svog Pri tome, želim da razjasnim teorijsku osnovu ideologija – od kolektivizma i egalitarizma – se dugogodišnjeg istraživanja ovde izdvajam slet ovog postupka. Hewitt veliku pažnju posvećuje iz sleta en general teško može artikulisati.5 za Dan mladosti, fokusirajući onaj održan 1987. analizi buržoaskog gesta i određuje ga kao čitljiv Kako sam istakla, sličnosti su: zamisao fizički i rez koji donosi poslednja priredba, 1988.6 i komunikativan pokret, pokret koji je jezički i duhovno kultivisanog i snažnog čoveka kao Sletovi za Dan mladosti mogu se uzeti kao artikulisan, odnosno koji je, agambenovski telesnog nosioca društvene promene, oličena ilustrativan primer društvene koreografije jer – rečeno, sama „otelovljena komunikacija”. u mladim telima gimnastičara i fiskulturnika; svojom javnošću, masovnošću i repetitivnošću (Hewitt 2005, 83) Međutim, on ne suprotstavlja ideje kolektivizma i egalitarizma, oličene u – doslovno demonstriraju kako se „ideologija buržoaski proleterskom gestu, tačnije, tvrdi masovnim participativnim izvedbama; kao i upisuje direktno u telo”. Međutim, iako da sam pojam gesta jeste buržoaski pojam te svest o estetskom aspektu ideologije, oličena ilustrativan, ovaj primer sam po sebi na kraju da proleterski i ne postoji. (Hewitt 2005, 80) Ja u javnom izvođenju sporta, umetnosti i retorike ne objašnjava kako društvena koreografija bih ipak rekla da sve i ako gest jeste buržoaski funkcioniše. Naime, slet paradigmatski pokazuje pojam, zaključak je preuranjen, jer iz toga ne 4 Rezolucija ruskog Saveza mladih komunista, na Trećem kako se ideologija izvodi u javnom prostoru, pre proizlazi da proleterski gest ne postoji, mada sveruskom kongresu sovjeta 1918. objavljuje: Fizička kultura mlađeg naraštaja suštinski je činilac u opštem svega u vidu promocije i probe državne ideologije, je možda pojam „preuzet”. Društva realnog sistemu komunističkog vaspitanja mladih ljudi, usmerenog ka ali ne govori o njenom „estetskom kontinuumu”, socijalizma bila su veoma ceremonijalizovana, stvaranju skladno razvijenih ljudskih bića, kreativnih građana tj. ni o odnosu sa društvenim poretkom unutar od masovnih spektakala ideologije pa do komunističkog društva. [...] Danas, fizička kultura takođe ima kojeg se realizuje, niti o telesnim praksama svakodnevnih praksi – u školi, na radnom izravne praktične ciljeve: (1) pripremu mladih ljudi za rad; (2) pripremu mladih ljudi za odbranu sovjetske vlasti. (prema: kroz koje se ta ideologija internalizuje i mestu, medijima i sl, i stvorila su čitavu lepezu O’Mahony 2006, 15) društveno ostvaruje. Iz tog razloga, u analizi prepoznatljivih i konvencionalnih gestova. Bez 5 Recimo, 1928. održana je Prva radnička spartakijada njih, alegoričnost sleta, o kojoj ću uskoro pisati, kao opozicija „zapadnjačkoj“ Olimpijadi, pa je forma sleta od ideološkog igrališta postala bojište sukobljenih ideologija. (vid. 6 Kao izvore u analizi koristim integralne snimke TV prenosa iz ne bi mogla da funkcioniše jer bi bila nečitljiva O’Mahony 2006, 30-37) Programskog arhiva TV Beograd. ili, obrnuto, ona se bazirala na pretpostavci “Crni talas” jugoslovenskog sleta Društvena koreografija TkH 21 23 referentnih gestova u društvenom životu. Drugi aspekt analize tiče se „saplitanja” kao ne-gesta. Osnovna teza Hewittove kritičke studije gesta – u kojoj referira na Balzaca – je da se saplitanje kao gubitak gesta pojavljuje kao eksplozija gesta preko granica čitljivosti. Međutim, ako hodanju kao gestualnom samopredstavljanju prethodi saplitanje, ono je zapravo sam začetak gestovnog jezika. U njemu se konačno ogleda rad društvene koreografije jer taj još-ne-gest, to saplitanje „preko praga socijalnog posredovanja”: ...označava ne samo trenutak prelaska prirode u kulturu – kao kod Rousseaua, somatske izražajne gestove kako otkrivaju svoju komunikacijsku vrednost – već bilo koji trenutak kada jedan kulturni poredak, doživljavan – ili, zapravo, više ne doživljavan – kao prirodan, ustupa mesto nekom drugom. (Hewitt 2005, 87)

Sletovi za Dan mladosti – osim što su demonstrirali potencijal omladine da iznese još bolju budućnost – promovisali su ideal bratstva-jedinstva u multinacionalnoj Jugoslaviji i tekovine NOBa: antifašističku borbu i socijalizam kao državotvornu agendu. Uz to, ☐ Slet za Dan mladosti, 1987. izvodili obični ljudi za obične ljude. To pak nije oni su bili i proslava rođendana Josipa Broza ugrožavalo njenu ideološku performativnost, Tita, mada su njegov lik i delo tableaux vivants dinamično značenje koje je čitava priča o jednom već je naprotiv pojačavalo cirkularnost na na stadionu srazmerno retko tematizovali.7 društvenom subjektivitetu i njegovoj istoriji kojoj se zasnivala ideološka operacija ove On ih je pre obeležavao svojim likom i (istorija razvoja socijalizma, politički značaj ideje priredbe. Ipak, moram dodati da nasuprot ideji „posmatrao”: sa porteta na sceni, a za života i bratstva-jedinstva, ključne bitke i mesta iz NOBa, participativnosti a u skladu sa onom o mladom, fizički sa počasnog mesta na vrhu tribine, kao istorija Saveza komunista, priča o JNA izrasloj zdravom i snažnom telu kao nosiocu revolucije, personifikacija i čuvar gorepomenutih ideja. iz partizanskog pokreta i sl). Modus njegove među izvođačima nije bilo invalidnih niti ostalih Sintaksički, sletovi su nalikovali baroknim ideološke operacije je međutim cirkularan, jer „drugih” tela. Ovo napominjem ne samo zbog festivalima – i tu se slažem sa Branislavom za „čitanje” tableau vivanta kao alegorije, tj. političke korektnosti, već i jer to pokazuje da Jakovljevićem, koji ih dovodi u vezu pre sa kako bi se dokučilo njeno neočigledno značenje, je slet u osnovi bio racionalno koreografisana barokom nego romantizmom (Jakovljević 2008) potrebno je upravo biti deo zajednice, „jezičkog izvedba politički svesnog jugoslovenske države, – na najmanje dva načina. Dramaturgija priredbe kolektiva” kojeg je ona pretpostavljeni izraz. pa u strogom smislu i nije kreirao Kracauerove zasnovane na kombinaciji različitih disciplina, Tek tako pročitano značenje postaje afektivno „masovne ornamente”.8 Osim toga, ova primedba žanrova i medija (gimnastike, plesa, muzike, i ideologija dobija performativni karakter. polemiše i o običnosti „običnog čoveka”, na koju slogana i vojne parade) je fragmentarna i sastoji Još jedna karakteristika sleta za Dan mladosti računaju brojne emancipatorske i kulturno- se od niza numera, koje se ponekad ukrupnjavaju koju bih istakla je masovnost i izvođača (oko umetničke i društvene prakse, uvodeći argument u „blokove”, tj. tematske ili žanrovske celine 8.000) i publike, što na stadionu JNA (oko o prethodnoj ideološkoj obradi same običnosti (1987: vojna parada, Glumište, folklorne igre, 60.000 gledalaca), što kao milionski auditorijum koja dolazi iz autentične i neposredne realnosti. tematski blok „Bomba u grudima” itd). Pored ispred TV ekrana, kasnije kada su uvedeni TV toga i još bitnije, postupak kojim slet proizvodi prenosi. U skladu sa idejama participativnosti Sletovi 1987. i 1988. se po mnogo čemu značenje jeste alegorija, karakteristično barokni i egalitarnosti, ti brojni izvođači sleta su razlikuju od prethodnih, a pre svega po tome oblik ekspresije. U tom smislu, ono što izvodi bili različiti mladi: učenici, studenti, radnici, što se socijalistička društvena koreografija u kolektivno telo na stadionu može se tumačiti sportisti, pioniri, folklorni igrači, gorani, izviđači njima raspala i nestala naočigled jugoslovenske kao „masovni ornament” (Kracauer 1995) jer i vojnici, iz raznih krajeva zemlje. Ova plešuća javnosti. Održani su sedam i osam godina deluje kao zgusnuta ekspresija iskustva naroda, masa bezimenih tela većinom je u izvođačkom nakon Titove smrti, u doba ekonomske krize u njegovog samopoimanja i poimanja sopstvene smislu bila i amaterska (i prilično nevirtuozna), Jugoslaviji, kada su odnosi među republikama istorije. Međutim, alegoriju – kako ju je opisao čime su granice između izvođača i publike postali sve zategnutiji, u vreme političkog uspona Benjamin na kojeg se Jakovljević poziva – ne treba postajale porozne a – ukoliko je reč o mlađoj Slobodana Miloševića i njegove „antibirokratske shvatiti tek kao konvenciju te ekspresije već kao publici – njihove pozicije zamenjive. Ovaj aspekt revolucije”, neposredno pred pad Berlinskog sam izraz konvencije. Masovni ornamenti sleta značajno razlikuje slet za Dan mladosti i od zida i uoči raspada SFRJ i ratova koji su ga su prema tome razvijen reprezentacijski poredak, nacističkih parada i od praške spartakijade, pratili. Sa ovom naknadnom istorijskom pameću gde tableau vivant nije samo konvencionalan i a posebno od severnokorejske masovne statičan označitelj pojma (crvena petrokraka kao gimnastike. 8 Koje karakteriše nesvesnost, pa: „Mesto koje neka epoha opšti simbol komunizma), nego ima i „dublje”, U tom smislu, slet jeste bio društveno zauzima u istorijskom procesu može se upečatljivije iz analize emancipatorski jer ovu najveću državnu priredbu njenih neupadljivih, površinskih izraza, nego iz sudova te epohe o sebi. [...] Površinski izrazi, međutim, zahvaljujući svojoj nesvesnoj 7 Oni su se obično pojavljivali u vidu Titovog „potpisa”: epolete, u principu nisu izvodili ni do perfekcije uvežbani prirodi, pružaju neposredan pristup osnovnoj građi stanja stvari.” stvarnog potpisa, ključnih godina i sl. virtuozi, niti istaknuti pojedinci, već su je (Kracauer 1995, 75) 24 TkH 21 Društvena koreografija Ana Vujanović

da istaknu njenu savremenost i neopterećenost socijalističkom ikonografijom. Portet Tita ipak nije izostao, čak, ovog puta – nakon dužeg vremena – to nije bio portret Tita u civilu, već Tita kao borca, sa partizanskom kapom. Na bini su se smenjivali pevači i grupe koji su izvodili pop hitove tog vremena: „Seobe” grupe Kerber, „Za treću smenu” i „Stari orkestar” Đ. Balaševića, „K-15” (Radnička odmara se klasa) Prave kotke, „Bomba u grudima” grupe Džakarta itd. Pored njih, izvođene su i pesme koje populistički podsećaju na bratstvo-jedinstvo, poput „Hej, ☐ Slet za Dan mladosti, 1987. Jugosloveni” i „Cela Juga jedna avlija”, odnosno ☐ Slet za Dan mladosti, 1987. revoluciju, poput „Nije sloboda sa neba pala”. deluje, barem na prvi pogled, zapanjujuće Dok se veoma insistiralo na profesionalizmu, koristi kako bi monumentalnost tableaua da su to bile zvanične državne priredbe. modernosti i tehničkim inovacijama,10 izbledelost pokazala i u pojedinačnom izvođačkom Sletu 1987. prethodio je skandal izazvan socijalističke socijalne koreografije primećuje zanosu i posvećenosti promovisanoj ideji. usvajanjem postera Dana mladosti, koji je se već u samim tableauxima koji su većinom Istovremeno, socijalistički slet je fizikalnost ironično predložila slovenačka grupa Novi bili ideološki slabi simboli: cvetno polje, srce, učesnika programski tretirao ovako: konzervativizam (Neue Slowenische Kunst), a detelina s četiri lista ili prizor seoba, sa dve koji se zasnivao na aproprijaciji slike Treći rajh kućice, oblacima i pticama „koje lete na jug”. Pažljivo promišljeno razmeštanje telâ po stadionu nacističkog slikara Richarda Kleina. Slovenački Međutim, ovaj slet ne bi bio toliko hibridan i bukvalno je pretvaralo ljudska bića u simbole i umetnici su, međutim, na slici promenili konfuzan da usred te kič koreografske slikovnice slova, tvoreći spektakularan masovni jezik tela. ideološka obeležja, pa je mišićavi mladić umesto nije nastupila JNA sa numerom „Armija naša Taj jezik je imao svoju gramatiku, svoju tehniku, nemačke zastave u ruci dobio jugoslovensku a narodna” K. Kovača u izvođenju J. Zlokić, M. kako u fukoovskom smislu stvoriti „precizno orao je zamenjen golubom. O ovom slučaju je Kovača i D. Topića. Iako je prethodnih godina slet čitljiva i poslušna“ tela. Najpre, takva tehnika se već mnogo pisano i on nije tema teksta, pa ću demilitarizovan i postizan je dogovor s vojskom usredsređivala na pojedinačno telo, rastavljajući ga ga ovde zaključiti ponovo otvorenim pitanjem: da ne nastupa samostalno, pa su gledaoci na najmanje analitičke jedinice – pokrete delova tela. Da li je promenom simbola zaista promenjeno već 1979. imali prilike da vide kako vojnici Pomoću ritma, ti delovi su zatim iznova komponovani, sve, pa je skandal koji je izbio kada je otkrivena nose pionire koji stavljaju cveće u cevi pušaka shodno matematičkim i geometrijskim obzirima. [...] pozadina postera samo histerična reakcija (Grigorov 2008, 114-115), JNA je ovog puta Organizatori masovnih gimnastičkih prikaza pravili su paranoidne vlasti ili je sama estetika slike sa nastupila sama. Potpuno naoružana. I odlično posebne mreže, „žive slike“ i svakom gimnastičaru svojom politikom tela nosila ideološko breme, uvežbana. Publici to nije delovalo uznemirujuće; dodeljivali tačno mesto na preseku apstraktnih koje je uznemirujuće povezivalo jugoslovenski nastup „vojnika sunca” i „vojske mira”, kako x i y osa. Stojeći na svom označenom mestu na socijalistički sa nemačkim nacističkim je samu sebe opisala, razgalio ju je i publika stadionu, gimnastičar više nije pripadao prirodnoj sistemom? U svakom slučaju, neposredno pred benevolentno počinje da peva i pljeska u ritmu zajednici, nego je postajao analitička jedinica, polazak štafete, poster je zamenjen prikazom koračnice obezbedivši tako vojsci performans koja se mogla usmeravati, kontrolisati i analizirati zelenog lista na crvenoj pozadini iz koje izranja produžen u gledalište. A uskoro i mnogo šire. iz jednog centra. (Orsolya, Roubal 2001, b.p.) crvena petokraka, koja kao da „nagriza” list Međutim, ono što najviše upada u oči je da je (koji simbolizuje mladost) – što je opet izazvalo koreografija sleta – osim nastupa JNA i folklornih Kod sleta 1987. sve ovo nije slučaj. Tela dvoumljenja – dok je štafeta te godine bila ansambala [sic!] – neuobičajeno nemarno izvođača u krupnim planovima nisu više glomazan valjak od pleksiglasa sa osam crvenih izvedena, pa su tableaux vivants narknjeni, analitičke jedinice i nisu tekst. Izvođači deluju kapljica na vrhu – koje su kasnije pročitane kao iskrivljeni, nepravilnih kontura i ponekad dobro „privatno”: zbunjeni su, zvaću žvake, smeju se, kapi krvi pa time i najava jugoslovenskih ratova. dođe objašnjenje TV komentatora da metež gurkaju i domunđavaju; koreografiju uglavnom Sama predstava, uokvirena ovom na stadionu „prevede” u cvetno polje. Ovaj izvode odsutno mehanički ili svako na svoj ambivalentnom ikonografijom, bila je jedan estetički komentar potvrđuje ono na šta Hewitt način, a nekad su i zatečeni jer ne znaju šta hibridni, konfuzni i izblebeli socijalistički spektakl ukazuje kada u analizi gesta ističe saplitanje, treba da rade; dok na njihovim licima nema koji je izmešao pop kulturu, folklor, probleme kao iskorak iz gesta i time njegovu osnovnu revolucionalnog zanosa – ni konvencije izraza svakodnevnog života i revolucionarnu retoriku.9 instancu. Taj nečitljivi pokret je ne-mesto gesta, niti izraza konvencije ideologije. To je naravno i Naslov sleta je bio prilično nerevolucionarni vapaj negativitet iz kojeg se sam gest čita kao gest i objašnjenje zašto su tableauxi na kraju traljavi, – Upalite svetlo, bez objašnjenja ko je u kakvom koji time pokazuje rad društvene koreografije. što se zatim vidi u totalima. Kritika ipak mraku i kome je molba/naredba upućena, pošto Na taj način se naročito mogu analizirati verovatno nije bila namera TV ekipe, već je ovo je to po cirkularnom kodu („ko zna, razumeće”) „telesne tehnike” samih izvođača. Jedno od rezultat pre jednog mehaničkog evidentiranja trebalo da je jasno. Na stadionu se nalazila plava rediteljskih rešenja TV prenosa sletova bila stanja stvari, pomešanog sa populističkim pozornica čiji su popdizajnirani panoi neonima je smena širokih i krupnih planova. Ta praksa simpatijama prema izvođačima čija privatnost ocrtavali prizore iz života mladih (od sporta do nije nova, još u Trijumfu volje Riefenstahl je ispada iz socijalističke težnje je da ukine i učini rok muzike), dok su po njoj tokom sleta učesnici i sam privatan život građana javnim. Kada 10 Osamdesetih godina, na mesto ljudi poput Paje Kulture ispisivali privatne grafite. TV komentatori su je [Spasoje Grdinić] došla je nova generacija mladih scenarista, je Makavejev 1962. snimio jedan od čuvenih uporno nazivali „alternativnom”, verovatno želeći sa modernim idejama, za koje je na prvom mestu bio tzv. filmova jugoslovenskog Crnog talasa, Parada, profesionalizam, a lični momenti i emocije bili su više usputni. njegov se dokumentarac smatrao ozbiljnom […] Žarko Čigoja neprekidno potencira tehničke parametre ovog 9 Vid. prethodnu, rudimentarnu analizu ovog sleta u Cvejić, događaja. Bivši scenarista podvlači da je šou imao producente, društvenom kritikom jer je snimajući Prvomajsku Vujanović 2012, 69-70. muzičke urednike, koreografe. (Grigorov 2008, 115) paradu, umesto centralnog događaja na kome “Crni talas” jugoslovenskog sleta Društvena koreografija TkH 21 25

„sve štima”, pokazao raštimovani backstage u jugoslovenskom društvu krajem 1980ih, je znati ispravno pročitati alegoriju. Zanimljivo radnika i učesnika, gde su tela prestala komentatori i aforizmi insistiraju na ekonomskoj je iz perspektive te „građanske neposlušnosti” da budu tekstualna i socijalistički gest se i političkoj krizi tog vremena. Eklatantan Glumišta primetiti da se njihov nečitljiv šum raspadao upravo na ovaj način. S obzirom da primer uvođenja te teme u državnu priredbu je u vidu izostanka masovnog ornamenta može je sada, 1987. taj backstage prenet na samu blok „Glumište”. Ne samo zbog komentara. shvatiti kao osnovna instanca masovnog javnu cenu, ironično bih ovaj, kao i sledeći slet Glumište se pojavljuje kao jedna haotična ornamenta u Kracauerovom smislu – a to nazvala crnim talasom jugoslovenskog sleta. didroovska pozorišna skupina, sastavljena od je sama masa ljudi, njihova nestrukturirana Kolapsu socijalističke društvene brojnih karaktera iz raznih društvenih slojeva, telesnost, koja nesvesnošću o izrazu konvencije koreografije tokom sleta 1987. doprinose i „od prosjaka do kraljevića” i kostimirana u skladu legitimiše svoj iskaz kao autentičan izraz do tada ambivalentni komentari TV komentatora, sa epohom („istorijom Evrope”) iz koje dolazi. nepredstavljenog naroda. Postupak Glumišta kao i aforizmi koji se projektuju na semaforu U smislu kritičnosti, najupečatljivi deo bloka je je istorijski poznat i po figuri dvorske lude. A (koji TV gledaoci ne vide pa ih komentatori numera „Stari orkestar”. Koreografija baletske njegov cinizam je u uceni: ja sam luda i stoga me povremeno čitaju). Oni su uglavnom kritični i koreografkinje Lidije Pilipenko netipična je za slet nećeš uzeti za ozbiljno (ja ne pripadam poretku ironični što prema samoj priredbi što prema i slične masovne priredbe namenjene pogledu iz realnosti); a ako prekršiš dogovor i uzmeš me za društvenoj stvarnosti, pa se oglašavaju poput velike daljine i ptičje perspektive, jer je zapravo ozbiljno (da jesam glas realnosti) onda si sam kakvog neposrednog glasa naroda, dok su pozorišna ansambl scena. Pa dok plesači izvode luda. Stoga ga je teško bilo kritikovati a da se istovremeno predstavnici državne televizije: dvorske poklone i razne plesove individualno, time ne prizna fikcionalni karakter samog sleta, u duetima i manjim grupama, na stadionu se što su naknadne javne kritike upravo učinile. K1: Odbrojavanje je počelo. Šta je to? Radnička ne formira nikakav masovni ornament. Pesma Ipak, na kraju ostaje dalekosežno pitanje klasa broji. Šta broji? Broji ostatak plate i pita se: Đorđa Balaševića za to vreme peva o starom o kojem se iz ovog analitičkog okvira jedino mogla bi na more, a kako, ako mora – može li? ... Na orkestru koji ne silazi sa scene iako stalno svira može spekulisati: Da li je ono što se u raspadu more ću otići, a možda i neću, optimista sam, majko... istu besmislenu pesmu „tra la la la”. Numera koreografije sleta 1987. otvara – realnost? O K2: Da, na semaforu piše upravo to: referira na tadašnju političku elitu i jednopartijski kojoj je realnosti ovde reč? Da li je to autentičan „Optimista sam, jer se ovako dalje ne može.” sistem, u kojem se dugogodišnji funkcioneri izraz nepredstavljenih građana? Ili: odakle Saveza komunista oglušuju o probleme društvene je ona generisana, čiji glas Glumište uvodi Dva momenta su ključna u tom smislu. Jedan stvarnosti. No sve ovo Glumište izvodi kao fikciju, na javnu scenu? Ono što i Hewitt i, pre njega, se tiče komentara koji prate numeru „Kakvo kolo kao pozorišnu predstavu unutar sleta. Njihov brojni marksistički teoretičari o tome u načelu naokolo” u izvođenju folklornih ansambala, kojom nastup se zasniva na postupku „teatar u teatru”, govore jeste da je zabluda u onome što kao se otvara prvi blok sleta, nazvan, opet zloslutno, koji – pošto je umetnost tj. fikcija – omogućava ne-tekstualni šum prodire kroz naprsnuće „Bomba u grudima”. Muzika s folklornim temama da se kaže „istina” a da se za to ne snosi kazna. Tu gesta ili ideološkog okvira tražiti nekakvu jugoslovenskih naroda i narodnosti zasniva se zaštitnu auru pojačava i istorijska nepreciznost neposrednu istinu, realnost i autentičnost jer, na „Brankovom kolu” romantičarskog srpskog epohe, što iskaz Glumišta čini vanvremenskim i kako bi rekao Karl Popper, pre nego što osporimo kompozitora Josifa Marinkovića, komponovanom stoga zdravorazumskim u njegovoj univerzalnosti. hipotezu, obično već imamo drugu u rukavu. na tekst iz pesme „Đački rastanak” takođe TV komentatori i ovog puta pojačavaju tenziju, romantičarskog srpskog pesnika Branka ali sada slaganjem sa onim što se izvodi na Tako taj nečitljivi ne-gest koji se pojavljuje Radičevića, dok se koreografija sastoji od stadijumu (K: „I, naravno, jedan stari orkestar u naprsnućima sleta 1987. dobija svoju varijacija kola. Kako ta duga i uzburkana numera koji treba zameniti.”) i konačno preuzimanjem inteligibilnost već naredne godine, kada je dostiže krešendo, tako TV komentatori pojačavaju refrena „tra la la la” kojim komentarišu naredni održana poslednja priredba za Dan mladosti, tenziju iz kontrapunkta. Otvoreno je čitaju aforizam, „Sve je prolazno, posledice su trajne”. ovog puta bez Štafete koja je u međuvremenu kao simptom rastućeg nacionalizma i kritikuju Međutim, kada komentatori preuzmu „tra la la ukinuta. Te godine, na stadionu JNA se kao izvođače koji se odvajaju i umesto zajedničkog, la”, ono izlazi iz fikcije Glumišta i postaje nova slet izvodi umetnička plesna predstava, sa jugoslovenskog igraju osam nacionalnih kola: realnost sleta. I upravo je to njen efekat. Da bi jednom jedinom heroinom. Umesto estradno pokrenulo ovaj mehanizam, Glumište kao teatar u orijentisanih autora – ekipu sleta 1987. činili K1: Kao što vidite, kolo je krenulo složno. teatru uvodi lom u reprezentacijski poredak sleta su scenaristi Slobodan Vujović i Žarko Čigoja i ... Ali nešto počinje da se dešava. koji dok projektuje društvo teži da bude njegova reditelj Mihailo Vukobratović – slet sada potpisuju K2: Dobro, gde je to ono složno kolo na početku? ekspresija, čime se vraćamo na teren alegorije i poznati pozorišni stvaraoci: reditelj je Paolo Zašto se kola, jedno po jedno, polako odvajaju? ne-gesta saplitanja. Postupak Glumišta je ciničan, Mađeli, koreograf Damir Zlatar Frey, a glavnu K1: Evo, Srbija se odvojila, pa Hrvatska, jer teatar u teatru uzima slet „preozbiljno“, ulogu igra Sonja Vukićević, baletska igračica i Bosna i Hercegovina... Jedna po jedna razotrivajući da je „car go”. Glumište je dakle koreografkinja modernog plesa. Slet se zasniva republika i pokrajina se odvaja. „glupo” i ne čita alegoriju, ono napušta mesto na adaptaciji profesionalne predstave Uro K2: Zašto igramo osam različitih kola? Zašto u pretpostavljenoj jezičko-ideološkoj zajednici boros, u produkciji Kulturnog centra „Novi Sad”, igramo... zašto igraju kola na svoje nacionalno – koju slet uzima i za referenta i za adresata u koja je prethodne godine sa velikim uspehom prepoznatljive melodije, a ne igraju zajedno? realnosti – i pojavljuje se odnekud drugde usred izvedena na festivalu Budva grad-teatar. K1: Čini se da nismo sjedinjeni kako bi trebalo da alegorije. Na taj način, Glumište kao fikcija fikcije Cela priredba započinje nadahnutim budemo. ... Ovo kolo upozorava na trenutnu situaciju. konačno zahvata realnost, pokazujući da je slet govorom glumice Ivane Žigon, u slavu velikana promašuje. Ovaj postupak ukazuje i na poslednji pozorišne umetnosti 20. veka (od avangardista Celoj ovoj kakofoniji – ko (sve) tu govori kome korak potreban za punu cirkularnost ideološke do Wilsona) i slobodnog ljudskog duha. Na i u čije ime – doprinose i aforizmi na semaforu operacije sleta, upravo time što ga Glumište ne stadionu je zatim mrak, u kojem vidimo jedino rasuti kroz slet, poput: „Svaki nacionalizam izvodi: ne samo da treba biti član ideološko- bezbroj baklji kako jure scenom. Nakon toga jednako je opasan, čak i naš.” ili „Ima toliko jezičke zajednice da bi se pročitala alegorija, koja sledi dramatična i mračna predstava u žanru raskrsnica, a putevi nedostaju”. Osim što je njen pretpostavljeni izraz, već, istovremeno, koreo-drame stadionskih razmera o destrukciji izgovaraju „javnu tajnu” o rastućem nacionalizmu da bi se postalo članom te zajednice, potrebno i regeneraciji, životu i smrti. Svojim asketskim 26 TkH 21 Društvena koreografija Ana Vujanović

Pre nego što kažem nešto o tom gimnastike, kreativni radnici pokušavaju da izrade individualizmu, zadržaću se kratko na aspektu i koriste umetničke ručne rekvizite i opremu, umetničkog. Kao što sam na početku teksta umesto gimnastičkih ručnih rekvizita i opreme. pomenula, u postrevolucionarnom SSSRu pojmom Zato, gimnastičkim izvedbama nedostaje snage i fiskulture izveden je transfer sporta u kulturu, što pokretačke sile i one počinju da liče na umetničke je po O’Mahonyju bila svojevrsna legitimizacija izvedbe. Od sada, za gimnastičke formacije se moraju masovne radničke kulture nasuprot buržoaskoj, praviti i koristiti gimnastički ručni rekviziti i oprema. elitističkoj koja je radije veličala umetnost. Tako [...] U praktičnom smislu, pozadinski prikazi i muzika su je socijalistički slet – od spartakijade, preko potrebni da bi izvedbe gimnastičarâ učinili laganijim. masovne gimnastike do sleta za Dan mladosti Potčinjavanjem muzike pokretima igrača, izbeći će – nastao kao ideološki spektakl koji veoma se tendencija masovnih gimnastičkih izvedbi da liče insistira na estetskom, ali je to estetsko ovde na plesne ili umetničke izvedbe. [...] Ako se previše ☐ Slet za Dan mladosti, 1988. shvaćeno u osnovnom smislu i ne znači nužno muzike koristi kao gimnastička muzika, masovna umetničko. Čak, sa umetničkim treba oprezno gimnastička izvedba može postati umetnička sportsko-plesnim telom, u beloj haljini, bosa i i vešto balansirati, kako bi se pojačali ideološki izvedba. To nije dobro. [...] Glavni nedostatak ovog sa dugom kosom, Sonja Vukićević ekspresivno afekat i efekat ali bez skretanja u buržoaski dela [Napredna džuče Koreja] je u tome što liči izvodi figuru rastzanog pojedinca, koji se elitizam, l’art pour l’artizam i dekadenciju. na plesno i umetničko delo. (Jong-il 1987, b.p.) bori sa preprekama i samim sobom, ali na Glumište je svojim teatarskim blokom 1987. uvelo kraju ipak ne predaje. Iako je stadion prepun pukotinu u ovaj estetski poredak, kroz koju je Da se vratim na individualističku matricu sleta. izvođača11 ona potpuno dominira scenom, čime 1988. izronila cela umetnička plesno-teatarska Da je individualizam sleta 1988. ideološka se slet 1988. pretvorio u plesni solo, ogromnih predstava na mestu sleta. Iz ideološko-političke kategorija podjednako koliko je to bio dimenzija. Čitava koreografija i scenografija, perspektive sloma socijalizma i revitalizacije kolektivizam, važna je teza u analizi društvene sa naročito efektnim fokusiranim svetlom kapitalizma, odnosno sloma proleterskog i koreografije i savremenog plesa, zasnovanog upošljena je da prvi put u istoriji sleta izdvoji revitalizacije buržoaskog društva u Jugoslaviji za emancipaciji individualnog tela (iako se ona jedno telo iz anonimne plešuće mase. Ono celu simptomatično je uporediti ovaj zaokret sa inherentno smatra antiideološkom). Dodatno, predstavu besomučno trči stadionom, poliva savetodavno-naredbodavnim predavanjem koje ova teza ga, specifičnije a nasuprot raširenoj ga kiša, probija se kroz more, da bi se na kraju, je Kim Jong-il upravo 1987. održao organizatorima tvrdnji, umesto za demokratsko, vezuje pre doslovno izmučeno i iznemoglo ali još uvek korejskih masovnih gimnastika uoči sleta za svega za kapitalističko društvo. Ranije sam o uspravno pojavilo na uzdignutoj platformi u Dan sunca odnosno rođendan Kim II-sunga, tome pisala, pa ću ponoviti deo argumentacije: centru stadiona, oko koje se u koncentričnim Napredna džuče Koreja. Preneću delove: krugovima u polumraku organizuje narod. Prema tome, pojam „emancipacije individue” Istorijski kontekst predstave nije sasvim Naša masovna gimnastika je mešovit oblik (pripisan demokratskim društvima) nije suprotan precizan; simbolički poredak sleta se odriče sveobuhvatnih telesnih vežbi, koje udružuju ideologiji (pripisanoj nedemokratskim društvima), savremenosti i estetika prevashodno evocira visoke ideološke sadržaje, umetnička svojstva i već je njen specifičan princip. A njegova (ideološka) srednjevekovnu atmosferu, pošto su izvođači gimnastičke veštine. [...] Revolucionarni sadržaj suprotnost je „kolektivizam”. Prvi je karakterističan kostimirani u seljane nalik feudalnim kmetovima. teme nekog prikaza masovne gimnastike pojačava za kapitalističko društvo i izranja iz ekonomskog Tih 9.000 ostalih izvođača tako dobija (kvazi) njegova ideološka i umetnička svojstva i obrazovni principa privatnog vlasništva, kao njegova ideološka tautološku ulogu naroda kao naroda, dok je značaj. [...] Kada se od njih traži da usvajaju nove među njima samo jedan, virtuozan pojedinac oblike pri pravljenju svakog prikaza masovne ☐ Slet za Dan mladosti, 1988. izdvojen, izuzetan i izuzet. Bio je to i sintaksički i simbolički slom sletovske ideologije „hajdemo svi zajedno”. Pa ako se teza Renate Salecl da u jednom trenutku u socijalističkoj Jugoslaviji niko nije verovao u socijalizam nego su svi verovali da drugi veruju (Salecl 2010, min. 8.05-9.50) može oprimeriti sletom 1987, onda priredba iz 1988. pokazuje da tada niko više nije verovao ni da iko veruje, pa ni država sama. Međutim, taj slom ne treba smatrati kolapsom ideologije uopšte i prelaskom na postideološko i postistorijsko doba. Jer ono što smenjuje sletovski kolektivizam i egalitarizam nije „ideološki neopterećeno”. Naprotiv, bez ideološke propagande kakvu smo viđali prethodnih godina, slet 1988. suptilnijim, umetničkim sredstvima promoviše individualizam kao novu ideološku matricu.

11 Prema svedočanstvu izvođačice sa njom, osim partnera, nastupa 9.000 omladinaca. Izjava je data u intervjuu autorke sa Sonjom Vukićević u okviru istraživanja plesne scene u Srbiji i video arhive Tigrov skok u prošlost, Saše Asentića i autorke, Beograd, 2007, http://vimeo.com/16371324 (20. 10. 2013.) “Crni talas” jugoslovenskog sleta Društvena koreografija TkH 21 27

Citirana literatura: Cvejić, Bojana; vujanović, Ana, Public Sphere by Performance, b_books, Berlin, 2012. Grigorov, Dimitar, „‘Računajte na nas.’ ‘Odlomak’ o Titovoj štafeti ili Štafeti mladosti“, Godišnjak za društvenu istoriju, br. 1-3, Beograd, 2008, str. 105-137 jakovljević, Branislav, „Ručni radovi – estetsko nasleđe ‘68.”, Teatron, br. 142, 2008, str. 26-40 Jong-il, Kim, „On Further Developing Mass Gymnastics”, 1987, http://www.korea-dpr.com/lib/Kim%20Jong%20Il%20-%205/ ON%20FURTHER%20DEVELOPING%20MASS%20GYMNASTICS. pdf (15. 10. 2013.) Kracauer, Siegfried, Mass Ornament, Harvard University Press, Kembridž MA – London, 1995. Manojlović pintar, Ogla, „‘Tito je stena.’ (Dis)kontinuitet vladarskih predstavljanja u Jugoslaviji i Srbiji 20. veka“, Godišnjak za društvenu istoriju, br. 2-3, Beograd, 2004, str. 85-101 O’Mahony, Mike, Sport in the USSR: Physical Culture – Visual Culture, Reaktion Books, London, 2006. Orsolya, Danó and roubal, Petr (ur.). Bodies in Formation: Mass Gymnastics under Communism, Open Society Archives at Central European University, Budimpešta, 2001, http:// osaarchivum.org/galeria/spartakiad/online/index2.html (15. 10. 2013.) Salecl, Renata, „The Paradox of Choice“, a lecture given at the RSA, July 8, 2010, http://www.thersa.org/events/video/archive/ renata-salecl-the-paradox-of-choice (15. 10. 2013.) vujanović, Ana, „Ne sasvim zapadna, ne baš istočna plesna scena (o savremenoj plesnoj sceni u Srbiji)”, u Raster #1; Godišnjak nezavisne izvođačke scene u Srbiji, Bojan Đorđev (ur.), TkH, Beograd, 2008. ☐ Slet za Dan mladosti, 1988. politika tela pripada novom društvenom i ideološkom poglavlju Jugoslavije, ali pre toga potpora. Drugi je deo socijalističke/komunističke retroaktivno postavlja pitanje i o društvenoj ideologije i uzrokovan je principom društvene svojine. (dis)funkcionalnosti sleta za Dan mladosti. [...] Tako, u kapitalističkim društvima nailazimo Naime, društvena funkcija sleta bila je da na istoriju savremenog plesa kao umetničke izvedbom i probom socijalističkog kolektivizma prakse emancipacije individue, kroz oslobođenje konstituiše identitet novog društvenog subjekta, tela, ekspresiju, kreativnost, autorsko ime itd. Na sposobnog da očuva tekovine revolucije i socijalističkom istoku, takva praksa je bila smatrana nastavi revolucionarnim putem ka komunizmu. za buržoaski luksuz i, iz potrebe za socijalno i Za tu vrstu performativnosti identiteta, pisala ekonomski učinkovitim kolektivom, zamenjena je Judith Butler, nije svakako dovoljna jedna je plesom kao „hajdemo zajedno!” i često gotovo izvedba, potrebna je repetitivnost i duga anonimnim kulturnim praksama sleta, parade, vremenska perspektiva. I upravo je to ono amaterskog plesa, folklora itd. [...] Metaforički što je slet radio, zajedno sa mnogim drugim govoreći, profesionalni-zapadni-savremeni-plesač priredbama i ritualima u ceremonijalizovanom je idealna slika nezavisnog, obrazovanog i veštog jugoslovenskom društvu. Pored uvođenja menadžera privatnog preduzeća, dok je istočna- fiskulture u redovnu nastavu od osnovne škole, masa-(polu)amaterskih-izvođača projekcija radničkih slet je iz godine u godinu, punih 30 godina, saveta, u kojima svaki glas ima podjednaku važnost javno izvodio, isprobavao i trenirao mlada tela i vrednost u strukturi radne snage koja pripada za identitet budućih socijalističkih Jugoslovena. svima (u stvari, društvu). (Vujanović 2008, 38-39) Ipak, slet 1987. pokazao je taj identitet kao klimav, porozan, društveno ne(više)utemeljen, Međutim, ako koreografiju sleta 1988. da bi ga već 1988. zamenio potpuno drugačiji shvatimo kao alegoriju ideologije individualizma, model: istaknuti pojedinac okružen masom. onda se kao i ranije mora preći na njenu Pitanje je gde je nestalo ono društveno telo koje specifičniju društvenu razinu. Moja ključna se 30 godina uvežbavalo za neku sasvim drugu teza, kojom ću i završiti ovu analizu, je da je sliku sveta: kako se tako brzo preoblikovalo ta alegorija ovde dvosmislena, jer traži da ili se nije ni oblikovalo? Jedino je sigurno da se pročita na dva, naizgled kontradiktorna je prekid njegovog estetskog kontinuuma načina istovremeno. Po jednom, ona nakon izveden na spektakularan način u državnim kraha socijalističkog kolektivizma i njegovog samoizvedbama 1987. i 1988, kada novi ozloglašenog partikularizma, slavi sam pojam identitet, sa svom dvosmislenošću simbioze slobodne i nezavisne individue (što, trebalo bi, istaknutog pojedinca i bezbojne mase, dobija može biti svako u svojim specifičnostima, dakle društveno utemeljenje – pojavom vođa naroda kao singularnosti jedne množine), a po drugom, u republikama i jačanjem nacionalizma kao isprobava novi kolektivizam zasnovan na opet identifikacionih uporišta građana koja ih oko partikularističkom samožrtvovanju i ultimativnoj njih okupljaju – i obeležiće jugoslovensku podršci (kom?) istaknutom pojedincu. Ova društvenu stvarnost narednog perioda. ■ 28 TkH 21 Društvena koreografija Gabriele Klein Kolektivna tela protesta: društvene koreografije i materijalnost društvenih figuracija

Gabriele Klein ● ● kulture protesta u javnom prostoru, s ciljem tradicije politizuje i seli u javni prostor (Kaschuba sažetak ● U žiži ovog teksta je da se uhvate u koštac s pitanjima zajedničkog 1991): karnevalske povorke, ulično pozorište, jedna globalno i politički rovita tema: pojava postojanja izvan institucionalizovane politike izvedbe i (traktorske) parade, okupiranje kolektivnih tela i društvenih koreografija i zvanično legitimne političke scene. kuća, raskrsnica, gradilištâ i železničkih u urbanom performans artu i pokretima Nasuprot arapskom svetu, na Zapadu, koji pruga. Flash mobs, vezivanje ili kačenje na protesta, koje obuhvataju, s jedne strane, je tema ovog teksta, protesti su u mnogim mostove, smelo i drsko lepljenje plakata, interdisciplinarno preplitanje društvenih nauka slučajevima poprimili estetske oblike. U kampovanje u šatorskim naseljima i svlačenje i, s druge, filozofije umetnosti i studija ljudskih svojim intervencijama u javnom prostoru, i smrzavanje čine ne samo spektakularne pokreta. Cilj teksta je da ispita estetske prakse ove nove kulture protesta u zapadnom svetu slike, već, poput pokreta „Okupiraj“, u sklopu i društvene figuracije estetskih i političkih svoje uzore traže u onim segmentima istorije s društvenim medijima, i nove izvedbene intervencija u javnom prostoru, pomoću umetnosti koji su zastupali šire razumevanje formacije i figuracije protestnih kultura. teorijskog pojma društvene koreografije. umetnosti. S jedne strane, tu su umetnički Kada je reč o tim kulturama, reč „pokret“ pokreti iz 1920ih godina, poput dadaizma, ne bi trebalo posmatrati samo metaforično, estetizacija političkog ● Poslednjih futurizma, pozorišne umetnosti Bauhausa, nego i doslovno, usled njegovih telesnih, godina, nastala je jedna nova kultura političkog nadrealizma i Situacionističke internacionale scenskih i koreografskih činova, čime teorije učešća, i u arapskim zemljama i u zapadnom 60ih godina, kao i „sponti“ pokreti, koje su društvenog pokreta tek treba na odgovarajuć svetu, pre svega u velikim gradskim središtima. izazvali Kommune I, autonomizam u Italiji i način da se pozabave. Sa stajalšta društvene Pomoću društvenih medija (interneta, akcije Spaßguerille 80ih godina. S druge strane, koreografije, sociološki pristup telu‒ koji ga Facebooka, Twittera, elektronske pošte, SMS oni nastoje da se nadovežu na uličnu kulturu uglavnom posmatra u jednini ‒ se širi tako što poruka), razvile su se na prelazu iz jednog koja se u evropskim gradovima utvrdila u 19. uključuje i sadejstvo telâ, koje se materijalizuje stoleća u drugo nove prakse i figuracije veku i koja svakodnevne situacije i kulturne u scenskim praksama i oblicima koreografije. Kolektivna tela protesta: društvene koreografije... Društvena koreografija TkH 21 29

Politizacija estetskog ● U isti mah, samo su neki od brojnih projekata koji prostorno-vremenskih odnosa telâ, njihovih u javnom prostoru se razvijaju i mnogi projekti ispituju figuracije društvene prakse u ritmova, dinamike, figuracija i formacija. izvođačkih umetnosti. Oni se poimaju kao uzajamnom dejstvu sa umetničkim i U isti mah, Hewittov pristup još jedno pitanje potrage za novim perspektivama političkog ili participativnim tipovima delovanja. ostavlja otvorenim, a to je osnovni sociološki kao eksperimentalna polja društvenog. Njihova U studijama izvedbe i plesa ostvaren je problem odnosa makro- i mikrostruktura su povesna porekla poznata i o njima se obimno konsenzus da participativni umetnički projekti društvenoga, tj. društvenog poretka i društvene pisalo: na primer, tu su happening (Kaprow), u gradskom prostoru nude alternativne poglede situacije, strukture i čina. Posebno tu, u nouveau réalisme (Tinguely), Fluxus (Paik, i perspektive na život u gradu i da svojim spajanju mikro- i makrostruktura, smatram Beuys), bečki akcionizam (Brus, Mühl, Nitsch) načinima rada stvaraju sredstva za ispitivanje da je gledište koreografije korisno, naročito i umetnici performans arta u ranoj fazi (Horn, raznih vidova javnog učešća. Pri tom, oni ako koreografiju razumemo u savremenom Naumann, Export, Ono, Abramović); od 60ih i napuštaju uobičajene pozorišne prostore i sele smislu, ne kao predodređen, ustaljen poredak 70ih godina, naročito se izvođačke umetnosti se u javni prostor ili druga mesta po gradovima kretanja, već kao pojam izvedbe, poredak koji (vizuelne umetnosti, muzika, pozorište, ples) (npr. škole, bolnice, skloništa za beskućnike). nastaje u praksi, u smislu „komponovanja u sve više zanimaju za javni život u gradovima, u Ili, proglašavaju i sámo pozorište mestom realnom vremenu“, tj. u izvedbi (vid. dole). isto vreme i reagujući na preobražaj gradova. društvenog učešća, preznačujući ga u prostor Na toj osnovi nastojim da preformulišem Od 90ih godina, savremena evropska društvenog opita i tako se suprotstavljajući pojam društvene koreografije iz ugla sociologije umetnička izvedba i naročito koreografija tradicionalnim okvirima. Urbana umetnička i studija plesa. Sa mog stanovišta, pojam razvijaju estetske pojmove za pristupanje izvedba i koreografija pokazuju se kao pogodna društvene koreografije spaja pojam koreografije kulturnom i političkom životu u javnom prostoru polja za iskušavanje mogućnosti da ljudi različitih iz savremenog plesa, koji u osnovi označava i ispitivanje pojma učešća u javnom životu kultura i miljea, životnih stilova i stavova opšte u organizovanje telâ u prostoru i vremenu (koje (npr. Blast Theory, Forced Entertainment, javnom prostoru, putem i unutar telesnih praksi. se ponekad i zapisuje), sa sociološkim pojmom Gob Squad, Lab of Insurrectional Imagination, Ovi umetnički projekti obnavljaju politički društvene figuracije (Norbert Elias). Elias je La Pocha Nostra, Ligna, SheShePop, Turbo zadatak i javni značaj umetničke izvedbe tako taj pojam uveo ne bi li rešio osnovni teorijski Pascal, Rimini Protokoll, Femen, Pussy Riot, što prodiru u javni prostor i odnose se prema problem sociologije: istovremeno promišljanje Toyshop Collective, Space Hijackers). svakodnevnoj politici kao otelovljenoj politici mikro- i makrostruktura. Po Eliasovom poimanju, Ali, njihov se umetnički rad odvija u drugačijem moći. Njih gone pitanja pozorišne teorije, poput figuracija je „mreža međuzavisnosti“ činilaca društvenom kontekstu, koji studije izvedbe, ovih: koja su mesta za pozorište? Kakva je unutar nekog društvenog poretka. Prema u saglasju s Hardtom i Negrijem (Hard & Negri struktura odnosa između glumca i javnosti? tome, pojam figuracije se može tumačiti iz 2005), tumače kao postfordistički (Virno 2004). Kako teatralnost svakodnevice odraziti estetski? Eliasovog ugla teorije izvedbe. Osim toga, S postfordističkim i neoliberalnim poimanjem Kako se uređuju odnosi među telima? pojam figuracije je od pomoći i pojmu društvene rada, i sâm umetnički rad poprima drugačije koreografije, pošto se bavi uzajamnim dejstvom društveno značenje: kreativnost, originalnost, Društvena koreografija ● Po prvi telâ i posmatra ga kao osnovu društvenog. improvizaciju, spontanost, inovativan put, izraz „društvena koreografija“ u većoj meri To izdvaja figuracionističku sociologiju, ne entuzijazam, spajanje rada i življenja – sve je iskoristio Andrew Hewitt (Hewitt 2005), u samo unutar sociologije, od akcionističkih ono što su bile istinske odlike umetničke teoriji književnosti. Hewitt je proučavao dela pojmova usredsređenih na radnje (actions) avangarde sada postaje obavezna odlika pisaca od sredine 19. do početka 20. veka iz pojedinaca, kao i od strukturalističkih rada u postfordističkim uslovima proizvodnje književnog ugla, usredsređujući se na njihovo pojmova koji pretpostavljaju već postojeće i neoliberalnim političkim pojmovima. Tu korišćenje pojma koreografije kao metafore poretke. To takođe otvara mogućnost za se umetnici smatraju pionirima (Boltanski i za moderno. U uvodu svoje istoimene knjige, poimanje koreografije ne kao organizovane Chiapello 2005). Kreativnost je dospela do Hewitt iznosi tezu o vezi između koreografije i zbirke (compilation) pojedinačnih kretnji, položaja upravljačkog mehanizma savremenih društvenog, ističući da je estetsko svojstveno zasnovane na posebnoj modernoj teoriji društava (Reckwitz 2012). Takođe, preobražaj društvenom, ili društvenom poretku (Hewitt subjekta kao „homo claususa“ (Elias). Umesto rada (Klein i Kunst 2012) doveo je do promene 2005, 12). U skladu s tim, Hewitt zaključuje da toga, pojam figuracije opisuje međuzavisnost u društvenom značaju umetnosti: dok je koreografski pogled na svakodnevne prakse telâ i njihovog kretanja kao temeljnu osnovu umetnost Novog veka svoj društveni legitimitet treba da prati pre svega dve putanje: ponašanja pojedinaca i stoga i društvenog. zasnivala na autonomiji i kritičkoj distanci, Prema tome, pojam društvene koreografije uloga umetnika se toliko izmenila da umetnost jednu, koja iscrtava načine na koje se razvija koreografsko gledište na društvene sada sve više određuje njena funkcija unutar estetizuje svakodnevno iskustvo (ples estetizuje figuracije: on se usredsređuje na prakse telesnih društvenih polja obrazovanja, kulture i nauke. najosnovnija i određujuća svojstva kretanja sadejstava i materijalnosti figuracija. Iz tog Koreografski i izvedbeni projekti su takođe ljudske životinje), i drugu, koja iscrtava načine na ugla, društvena koreografija se tiče posebno umešani u ovaj novi i veoma napeti umetnički koje je „estetsko“ zapravo odsečeno i odvojeno prostornih i vremenskih figuracija organizovanja sukob kritičke avangarde, inovativnih kao zasebno iskustveno područje. To je ono što telâ, materijalnostî i predmetâ, koji se jedni participativnih umetničkih projekata i ugovornog podrazumevam pod estetskim kontinuumom prema drugima odnose na međudejstvene i rada za razne naručioce (gradove, mesta, društvene koreografije. (Hewitt 2005, 19) međutelesne načine (npr. u saobraćaju, na škole, vlasti, crkve, obrazovne i kulturne demonstracijama, na plesnim podijumima). ustanove, udruženja). Reclaim the Streets Hewitt tako određuje društvenu koreografiju Na prvom mestu, društvena koreografija (Povrati ulice) – protestni pokret za vraćanje u smislu vezâ između estetskog i društvenog, posmatra društvene prostore kao koreografisane javnog prostora, zatim izraelski izvođački koje i drugi autori primećuju (npr. Martin 1997). sredine, poput gradskog javnog prostora kao kolektiv Public Movement (Javni pokret), pa Međutim, ostaje pitanje kako odrediti i ispitati panoptičkog prostora, s makrostrukturama Pink and Silver (Ružičasto i srebrno) i, na kraju, koreografsko kao poseban oblik estetskog i materijalizovanim kroz prostorno planiranje, Volxtheaterkarawane (Karavan narodnog društvenog. Tako, koreografsko se stanovište ne saobraćajnu infrastrukturu i arhitekturu, pozorišta), austrijski pokret protiv rasizma, usredsređuje na „estetsko“, već na materijalnost koje upravljaju kretanjem i ponašanjem 30 TkH 21 Društvena koreografija Gabriele Klein ljudi a tako i obrascem društvenog opažanja koreografije i razumeti kao regulisana i Nove protestne kulture mogu se razumeti kao i iskustva. Drugo, društvena koreografija strukturisana improvizacija svakodnevne prakse. izraz pozorišnosti javnog gradskog prostora, posmatra društvene figuracije iz ugla Kao koreografije koje uspostavljaju kratkotrajne u kojem se protest uvek odvijao kao sastavni njihovih poredaka kretanja, drugim rečima, poretke, protestni pokreti pokazuju savremeno deo inscenacije javnog (public staging). Bilo njihovih unutrašnjih telesnih sadejstava. shvatanje koreografije, ne kao ustaljenog i kao pobune, ustanci, mirne demonstracije, U žiži pojma društvene koreografije jeste iterabilnog poretka omeđenog pravilima, kojima ulične borbe, proslave, praznici ili obredi – kombinovanje društvenog i estetskog. Njegova se moramo prilagođavati, već kao zajedničkog javni skupovi moraju biti inscenirani da bi bili glavna i osnovna tvrdnja je ova: koreografski procesa, jednog kontingentnog poretka u vidljivi. Prema tome, pozorišnost nije nikakav poredak društvenog sadrži i političku nastajanju, koji njegovi učesnici stvaraju ni iz spoljni dodatak, već jedan aspekt protesta. dimenziju, koja se ispoljava u poretku kretanja čega. Tako piše i koreograf William Forsythe: Estetizacija znači suštinsku promenu ne telâ. Prema tome, odnos između političkog, samog etičkog, već i političkog i društvenog. društvenog i estetskog veoma je značajan. Koreografija nije nužno vezana za ples, niti je ples „Estetizacija“ je ključna reč koja prožima kulturnu Dakle, pojam društvene koreografije bavi se nužno vezan za koreografiju. Koreografija se tiče kritiku tokom čitavog 20. veka: od dijagnoze odnosom makro- i mikrostruktura, poretka i organizovanja telâ u prostoru, ili organizovanja telâ Waltera Benjamina o „estetizaciji političkog pokreta, pri čemu se poredak, s jedne strane, s drugim telima, ili jednog tela s drugim telima u života“ (Benjamin 2007.) do „društva spektakla“ može materijalizovati objektivno (u saobraćajnoj nekakvoj organizovanoj sredini. (Forsythe 2010, 105) Guya Deborda (Debor 2003.) i različitih stanovišta infrastrukturi, zgradama itd), dok, s druge modernističke i postmodernističke kritike strane, može pripadati i figuracijama koje ističu Ova savremena definicija koreografije čini (Habermas 1988, Eagleton 1990, Bubner 1989, preplitanje pokretâ učesnikâ. Imanentni odnos osnovu pojma društvene koreografije. Iz ugla Boltanski i Chiapello 2005, Feri 1994). U žiži poretka i pokreta u društvenim figuracijama savremene koreografije, jedan koreografisan ovih različitih kritičkih usmerenja bio je odnos pokazuje se dvosmislenim: s jedne strane, on protest može se posmatrati kao kompozicija estetskog i neestetskog, pri čemu je estetsko, vodi konvencionalisanju i standardizovanju nastala u hodu, tj. kao regulisana improvizacija u vezi sa estetizacijom, shvatano kao nešto što društvenih normi i pravila, dok s druge strane koja se javlja kao koreografski poredak u dolazi spolja i razna područja vodi u krizu, poput pruža mogućnost za prekid i intervenciju. Način trenutku izvedbe (ovde bi paradigmatičan politike, religije, etike i razuma, preispitujući na koji se ova dvosmislenost ispoljava čini primer bili flash mobs, čiji učesnici, na i podrivajući njihove normativne temelje. predmet mog istraživanja društvenih koreografija. dogovoreni znak, zajedno izvode unapred Poslednjih godina, međutim, razvijena su razna Društvene koreografije se tiču pitanjâ osmišljen scenario). Usled nepredvidljivosti gledišta u poljima filozofije (Boehm 1995, Welsch paralela i figuracija telesnih (1), pozorišnih političko-protestnih koreografija u hodu, 1993), religije i istorije (Vajt 2011, Kippenberg (2) i koreografskih (3) figuracija političkog suštinski važne postaju odluke koje učesnici i dr. 1982‒90, Lanwerd 2003), književnosti protesta i estetskog učestvovanja. Pitanje za moraju donositi u toku izvedbe, njihova i istorije umetnosti (Bredekamp 2007, Vogl nas je da li i kako nove kulture protesta, pre sposobnost da kreativno reaguju u politički 1999, Iser 2003, Rebentisch 2012, Brombach svojim estetskim praksama nego konkretnim rovitim situacijama i „u cajtnotu“, kao i et al. 2010.) koja odbacuju ovaj diskurzivni zahtevima, remete, podrivaju i možda menjaju da prate kretanje drugih i sadejstvuju s obrazac u raspravi o estetizaciji i zalažu se za koreografski poredak javnog prostora i takođe njima. Ovde nailazimo na jednu estetsku suprotstavljeno stanovište. Ona estetsko vide kao najavljuju i stvaraju druge, alternativne dvosmislenost, utoliko što se stvaralački osnovan sastojak političkih, verskih, društvenih vidove društvenog i političkog iskustva. procesi protestnih pokreta mogu tumačiti i i epistemoloških praksi. Tako, estetizacija Gledište društvene koreografije sledi jednu kao otpor vladajućim normama, ali i kao deo ne označava proces prekidanja (disruption), kritičku društvenu teoriju moderne, koja oblikuje postfordističkog poretka kreativnosti. već se posmatra kao imanentan element koji kulturni obrazac jednog društva, posebno u smislu doprinosu uspehu tih praksi. U isti mah, estetsko njegovih svakodnevnih telesnih praksi, njegove estetizacija u kulturama se prepoznaje kao ključan pojam za ispitivanje mikropolitike. Ovde je posmatranje sadejstvujućih protesta ● Na toj osnovi, moje stanovište modernih pojmova znanja, političkog i religijskog. tela od ključnog značaja. Iz ugla društvene je da te nove figuracije demokratske javnosti, To je upravo zato što se nedostatak estetskog koreografije, telo nije samo sredstvo protesta u naročito u neoliberalnom zapadnom svetu, ne bi posmatra kao jedan od aspekata krize. smislu nošenja znakova i simbola ili opasnosti u trebalo posmatrati samo kao besperspektivne Po stanovištu kritičara, estetizacija vodi ka rizičnim radnjama. „Raz-meštanje“ i „uklanjanje“ „antipokrete“, kao što se često čuje u javnosti. prevlasti privida, čime se svaki događaj pretvara tela koja leže na ulici, u lancima i koja se na kraju Umesto toga, trebalo bi se zapitati da li možda u spektakularnu inscenaciju (staging), sadržaji u odvlače, pokazuje ranjivost ličnog i intimnog neki drugi oblik političkog, „umetnost slobode“ slike, radnje (actions) u izvedbe, samospoznaja tela. To je već protest protiv javnog prostora (Rebentisch 2012), može nastati u samom u pozu, protest u spektakl, a društvene veze kao panoptičkog prostora moći (Foucault). procesu estetizacije. Nasuprot kritikama u estetske odnose. Tako, iz kritičkog ugla Osim toga, protest prevashodno nastaje putem estetizacije koje su počele 60ih godina, na sociologije i filozofije, „opasnost“ estetskog koreografskog organizovanja telâ, drugim primer, klevetanju uličnog pozorišta od strane leži u njegovom neintegrišućem uticaju na rečima, unutar materijalnosti jedne društvene austrijskog pisca Petera Handkea, po kome je zajednicu. Nasuprot takvim stavovima, pojam figuracije. Ne pojedinačno već samo zajedničko ono bilo apolitičan „TheaterTheater“ (Handke društvene koreografije počiva na pretpostavci telo može biti politički delotvorno u zauzimanju 1968) i kritikama potkulture procesa estetizacije da je estetsko imanentan aspekt društvenog javnog prostora i podrivanju poretka. Pri tom, ti od strane raznih drugih teoretičara (Marcuse i političkog. Kao takvo, ono je dvosmisleno: činovi su često kreativni i pozorišni, osmišljeni 1978), koji su zatim pustili u promet krilaticu može uticati na uništenje, ali i na obnovu. s puno šale i ironije; pomoću ovih pozorišnih „anestetizacija“, ovaj tekst se zalaže upravo Na osnovu tog spajanja estetskog i političkog, praksi i njihovih prolaznih figuracija, oni sami za razumevanje estetizacije kao potrage za estetsko ne bi trebalo opisivati samo kao vid zamagljuju razliku između estetskog i političkog. novim perspektivama političkog, za novim percepcije, niti ono uopšte može postojati van Poredak pokreta u okviru društvenih smernicama u demokratskoj politici, lokalnoj kao političkog. Umesto toga, ovo gledište počiva na koreografija protestnih kultura nije zamrznut, i globalnoj, kao i za novim oblicima suživota u pretpostavci da je estetsko ugrađeno u političke već se može izražavati i jezikom savremene multikulturnim gradovima i gradskim prostorima. i društvene prakse i društvene figuracije – Kolektivna tela protesta: društvene koreografije... Društvena koreografija TkH 21 31 upravo zato što te prakse i figuracije, sa svojim veka, radnici i sindikati su svoje demonstracije Europäische Zeitschrift für Kulturforschung br. 40/1/2, 2012, str. normama, pravilima i običajima, već upravljaju ustrojavali u redove ili blokove. Taj oblik 35–48 Klein, Gabriele, „The (Micro-)Politics of Social Choreography: percepcijom tako što raspoređuju ljude u koreografije su preuzeli zato što su želeli da Aesthetic and Political Strategies of Protest and Participation“, prostoru, dodeljujući im društveni i politički se postave na različite strane: s jedne strane, u Gerald Siegmund i Stefan Hölscher (ur.), Dance, Politics and manevarski prostor i na taj način upravljaju buržoaziji su hteli da pokažu da su kadri da svoje Co-Immunity, Diaphanes, Berlin, 2013, str. 193–208 društvenom percepcijom. Takođe, upravo ovde političke zahteve javno iznose na miran i uređen Klein, Gabriele, „Zeitgenössische Choreographie“, u Gabriele Klein (ur.), Choreografischer Baukasten, Textband, Transcript, leže političke dimenzije telesnog (estetskog): način. S druge strane, pokreti u Nemačkoj su Bilefeld, 2011, str. 14–78 u „kinestetičkoj politici“ (Lepecki 2006). To pruskoj državi želeli da dokažu da prihvataju lanwerd, Susanne (ur.), Der Kanon und die Sinne: je politički pojam koji spaja fizičko i političko, njen militaristički koreografski obrazac i da se Religionsästhetik als akademische Disziplin, EurAssoc., Luksemburg, 2003. određujući političko delovanje kao čulnu praksu na taj način vidno odvoje od radikalne levice, lehmann, Hans Thies, Postdramsko kazalište, CDU, Zagreb – koja pomera i vidljivim čini kulturne i društvene prezrene kao ratoborne rulje. Danas, protesti TkH, Beograd, 2004. kodove – prkoseći onome što Jacques Rancière se pojavljuju u sve kratkotrajnijim, neurednijim, lepecki, André, Exhausting Dance: Performance and the Politics of Movement, Routledge, Njujork – London, 2006. naziva „policijskim poretkom“ (Rancière 2010). spontanijim i nenajavljenim figuracijama. S Marcuse, Herbert, Kraj utopije; Esej o oslobođenju, Stvarnost, jedne strane, to je izraz „tekuće modernosti“ Zagreb, 1978. Politika estetizacije ● Iz ugla (Bauman) i analogno je postfordističkim oblicima Martin, Randy, Critical Moves: Dance Studies in Theory and Politics, Duke University Press, Daram, 1998. estetskog, pitanje nije samo kako oceniti proizvodnje. S druge strane, ovi estetski oblici nancy, Jean-Luc, Being Singular Plural, Stanford University participativno shvatanje demokratije pod takođe utiču na trenutke, mesta i ritmove i Press, Stenford, 2000. političkim i društvenim uslovima jednog društva dinamiku kretanja „kolektivnih tela protesta“. ■ rancière, Jacques, „Democracies against Democracy“, u Giorgio Agamben i dr. (ur.), Democracy in What State?, Columbia i njegovog političkog ustrojstva. Nove kulture University Press, Njujork, 2011, str. 76–81 protesta u demokratskim društvima takođe navedena dela: rancière, Jacques, Dissensus: On Politics and Aesthetics, pokazuju da estetska dvosmislenost i izvedbena Benjamin, Valter, „Umetničko delo u razdoblju njegove Continuum, London – Njujork, 2010. tehničke reproduktivnosti“, u O fotografiji i umetnosti, Kulturni otvorenost demokratiju vide kao oblik koji je rebentisch, Juliane, Die Kunst der Freiheit: Zur Dialektik centar Beograda, Beograd, 2007, str. 98–129 demokratischer Existenz, Suhrkamp, Berlin, 2012. „na svome“ (comes into its own) (Derrida), koji Boehm, Gottfried, „Die Wiederkehr der Bilder“, u Gottfried reckwitz, Andreas, Die Erfindung der Kreativität: Zum Prozess se stalno mora obnavljati, a nikada ne može Boehm (ur.), Was ist ein Bild?, Wilhelm Fink Verlag, Minhen, 1995, gesellschaftlicher Ästhetisierung, Suhrkamp, Berlin, 2012. str. 11–38 ostvariti ni u jednom posebnom obliku ostvarenja virno, Paolo, Gramatika mnoštva: prilog analizi suvremenih Boltanski, Luc i Eve Chiapello, The New Spirit of formi života, Naklada Jesenski i Turk, Zagreb, 2004. (Nancy 2000, Rancière 2011). Moja prva teza je Capitalism, Verso, London – Njujork, 2005. vogl, Joseph, „Einleitung“, u Joseph Vogl (ur.), Poetologien des da ove nove figuracije javnog protesta pokazuju Bredekamp, Horst, Galilei als Künstler: Die Zeichnung, der Wissens um 1800, Wilhelm Fink Verlag, Minhen, 1999, str. 7–16 jedno novo svojstvo, u sadejstvu političkog i Mond, die Sonne, Akademie-Verlag, Berlin, 2007. vajt, Hejden, Metaistorija: istorijska imaginacija u Evrope Brombach, Ilka i dr. (ur.), Ästhetisierung: Der Streit um das devetnaestog vijeka, CID, Podgorica, 2011. estetskog, u istovremenoj estetizaciji političkog Ästhetische in Religion, Politik und Erkenntnis, Diaphanes, Berlin, Welsch, Wolfgang, „Das Ästhetische – eine Schlüsselkategorie i politizaciji estetskog: dok politički protest 2010. unserer Zeit?“, u Wolfgang Welsch (ur.), Die Aktualität des postaje sve više estetski, umetnost u javnom Bubner, Rüdiger, „Ästhetisierung der Lebenswelt“, u Walter Ästhetischen, Wilhelm Fink Verlag, Minhen, 1993, str. 13–47 Haug i Rainer Warning (ur.), Poetik und Hermeneutik br. 14: Das Welsch, Wolfgang, Ästhetisches Denken, Reclam, Štutgart, prostoru postaje sve više politička. Prema Fest, 1989, str. 651–662 1990. tome, ne treba kriviti estetizaciju protestnih Debor, Gi, Društvo spektakla, A. Golijanin, Beograd, 2003. pokreta za njihovu navodnu besperspektivnost, eagleton, Terry, „From the Polis to Mostmodernism“, u The Ideology of the Aesthetic, Blackwell, Oksford, 1990, str. 366–417 već je treba sagledati kao unutarnju potragu Feri, Lik, Homo aestheticus: otkriće ukusa u demokratskom za novim perspektivama političkoga, za novim dobu, Izdavačka knjižarnica Zorana Stojanovića, Sremski Karlovci smernicama u demokratskoj politici, lokalnoj – Novi Sad, 1994. Fischer-lichte, Erika, Estetika performativne umjetnosti, kao i globalnoj, i za novim oblicima suživota, Šahinpašić, Sarajevo – Zagreb, 2009. naročito u multikulturnim gradovima i gradskim Forsythe, William, „City of Abstracts (2000) i The sredinama. Moja druga teza je da estetsko Fact of Matter (2009)“, u Stephanie Rosenthal (ur.), Move: nije preobražaj koji iskrivljuje političko, već Choreographing You, Hayward Gallery Pub., London, 2010, str. 105 habermas, Jürgen, Filozofski diskurs moderne: dvanaest nezaobilazan deo demokratske politike. predavanja, Globus, Zagreb, 1988. Moja treća teza je da estetizacija protestnih handke, Peter, „Straßentheater und TheaterTheater“, Theater pokreta takođe menja odnos oblika i sadržaja: heute br. 7, 1968, str. 6–7 hard, Majkl i Antonio negri, Imperija, IGAM, Beograd, 2005. ciljevi su rasuti i možda moraju ostati rasuti, s hewitt, Andrew, Social Choreography: Ideology as Performance jedne strane, zato što nastaju kao odgovor na in Dance and Everyday Movement, Duke University Press, Daram, postdemokratsku politiku, koja teži da deluje 2005. iser, Wolfgang, „Von der Gegenwärtigkeit des Ästhetischen“, u kao administrativna praksa koju legitimiše Joachim Küpper i Christoph Menke (ur.), Dimensionen ästhetischer ekonomska neophodnost, ne pripisujući više Erfahrung, Suhrkamp, Frankfurt, 2003, str. 177–202 nikakvu odgovornost vlastima. S druge strane, Kaschuba, Wolfgang, „Von der ‘Rotte zum Block’: Zur kulturellen Ikonographie der Demonstration im 19. Jahrhundert“, pojedinačni činovi su usredsređeni na estetske u Bernd Jürgen Warneken (ur.), Massenmedium Straβe: Zur prakse, tj. na poigravanje sa znacima, značenjima, Kulturgeschichte der Demonstration, Campus Verlag, Frankfurt, iskrivljenjima, otuđenjima, citatima, drugim 1991, str. 68–96 Kippenberg, Hans G. i dr. (ur.), Visible Religion: Annual for rečima, s tehnikama i postupcima koji odlikuju Religious Iconography br. 1–7, 1982–1990. „(post)dramsko pozorište“ (Lehmann 2004) i Klein, Gabriele i Kunst, Bojana (ur.), Performance Research br. „estetiku performativnog“ (Fischer-Lichte 2009). 17/6: On Labour & Performance, 2012. Ovaj široki opseg tema i ciljeva takođe menja, Klein, Gabriele, „Choreografien des Alltags: Die emergenten Ordnungen der Lebenswelt“, u Claudia Behrens i dr. (ur.), Jahrbuch po mojoj četvrtoj tezi, i društvene figuracije Tanzforschung br. 22: Tanzerfahrung Welterkenntnis, 2012, str. protesta: „mreže međuzavisnosti“ koje se 17–34 materijalizuju kao zasebne prostorno-vremenske Klein, Gabriele, „Choreographien des Sozialen“, Ästhetik und Kommunikation br. 40/146, 2009, str. 25–30 strukture i analiziraju u pogledu svojih telesnih, Klein, Gabriele, „Choreo-Politik: Kulturelle und künstlerische scenskih i koreografskih praksi. Krajem 19. Performances im öffentlichen Raum“, Sociologica Internationalis: 32 TkH 21 Društvena koreografija Bojana Cvejić Ples-rat

Bojana Cvejić ● ● Kada je tadašnji američki predsednik Dwight D. Eisenhower 1954. izneo svoju „domino-teoriju“ da će usled izlaska Francuske iz Indokine i komunističkog ustanka u Vijetnamu ceo region „pasti“ pod komunizam, Američka nacionalna pozorišna akademija (American National Theater Academy, ANTA) poslala je Plesnu trupu Marthe Graham (Martha Graham Dance Company) na turneju po Jugoistočnoj Aziji. Američku nacionalnu pozorišnu akademiju je američki State Department (ministarstvo spoljnih poslova) bio zadužio da regrutuje ples za potrebe diplomatske misije. Inicijativa je bila preduzeta u saradnji sa Hitnim fondom za međunarodne poslove (Emergency Fund for International Affairs) koji je Eisenhower uspostavio iste godine da bi od Kongresa dobio dodatna sredstva za umetnost, uključujući i ples, u svrhu „suzbijanja publike. „Mirnoća pa pokret, pokret pa spokoj... ☐ Yvonne Rainer, foto: Lennart Laberenz slike o životu u Americi iz holivudskih filmova“ ta dva i po časa čitavoj su publici podarila ili, kako je to rečito prokomentarisao dnevni duboka osećanja“ u koreografiji koja „slavi ovako: ples inkarnira slobodu kao univerzalnu list u Džakarti 1955, da bi razvejao „javno lepotu i stvarnost ljudskog tela, mada duboko i urođenu sposobnost ljudi za autoekspresiju, mnjenje da Amerikanci žive u kulturnoj pustinji zadire u ljudsko srce“ (japanski i malezijski koja se najbolje ispoljava kinetičkim tokom ili, naseljenoj samo ljudima sa električnim kritičari, citirani u Provost 1998, 48‒49). kako to André Lepecki naziva, biće-ka-kretanju aparatima i viršlama i atomskim bombama“ (being-toward-movement). Moderni se ples može (Provost 1998, 50). A misija Marthe Graham je „Ples-rat“, oksimoron... povezati sa ekspanzijom liberalne demokratije, zaista uspela: čak i komunistički opredeljeni i ne „rat-ples“ ● Ova priča o mobilisanju slobodnog preduzetništva i tržišnog kapitalizma. antiamerički mediji i zvaničnici Indije, Burme, američkog modernog plesa kao instrumenta To je pokretljivost pojedinca kao sklonost ka Tajlanda, Indonezije, Japana itd. pohvališe ideološke propagande, tobože u mirotvoračke pokretu/promeni/toku/begu, ujedno shvaćen njen ples, kao i napore u kulturnoj diplomatiji. svrhe a zapravo tek za još jedan vid borbe kao preduslov za ličnu autonomiju; emocionalna „Umetnici poput Marthe Graham veoma za hegemoniju u svetu podeljenom Hladnim priroda pokreta, koja izražava psihički život delotvorno mogu doprineti međunarodnoj ratom, predstavlja polazište mog istraživanja. pojedinca; ples kao mašina apstrakcija smisla dobroj volji i stoga predstavljaju moćnu snagu Koje pojmove i odnose priziva spoj plesa i rata, koja ples esencijalizuje svodeći plesna značenja mira“, izjavio je predsednik burmanske vlade takoreći, kroz čitav 20. vek? I, da bismo bliže na metafore; opsesija stvarnim u telesnosti spone U Nu. Hindustani Standard je takođe primetio odredili polje i razloge za ovakvo istraživanje, između tela i pokreta i trenutne prolaznosti da „upoznajući nas sa ovim drugim licem njene moramo se upitati: o kom ples su ovde radi? U pokreta. Filozofska utemeljenja tih predstava velike zemlje, gđica Graham vidno unapređuje kom smislu govorim o ratu? Kako da shvatimo su nesporno vitalistička, jer slave intenzitet indo-američke odnose“ (Provost 1998, 50‒51). te pojmove i kako se oni uzajamno određuju? iskustva vlastite subjektivnosti u živoj slici ili, Ključni činilac u dobijanju ove „bitke za srca Priča o turneji Graham po Jugoistočnoj Aziji kao što, na primer, to nedavno slavi izložba i duše“ ideoloških neprijatelja Amerike u predstavlja vrhunac zapadnjačke, evro-američke posvećena plesu, danser sa vie.1 Vitalizam ovoj hladnoratovskoj aferi nije bio nikakav tradicije pozorišnog plesa, u kojoj se „ples-rat“ ovde obuhvata i metafiziku 19. veka, u smislu patriotski narativ epskog plesnog spektakla na prvi pogled čini kao oksimoron: dva pojma élan vital Henrija Bergsona, zatim kasnije (u predstavama American Document [Američki označavaju protivrečne predstave udružene u delezijanske predstave intenziteta i postajanja, dokument] ili Appalachian Spring [Apalačko suprotnosti. Od svog „rođenja“, koje je Isadora kao i zdravorazumska shvatanja plesa kao proleće]), već one odlike američkog modernog Duncan objavila u tekstu „I See America Dancing!“ prakse nadahnute životom, ujedno veličajući plesa koje inkarniraju „slobodu“, svojstvo koje (Vidim Ameriku kako pleše!), moderni ples se život, odnosno energiju, ljubav, entuzijazam, je trebalo da razdvaja američku od sovjetske vezuje za emancipaciju subjekta pod okriljem otvorenost/spremnost/raspoloživost (readiness) kulture, naglašavajući „pojedinca“ i žudnju za liberalne demokratije. Jezgro argumenta kojim „stvarnim“, postvarene telima koja pokretom je opravdavan kritički otklon modernog plesa od 1 Danser sa vie je naslov izložbe posvećene plesu i vizuelnim izražavaju osećanja. Lokalni su kritičari jedva baleta i koji i dalje utiče na savremeni ples kao umetnostima 20. veku, koja je 2012. održana u Centru nalazili reči da opišu entuzijastične reakcije nasleđe ranog modernog plesa može se sažeti Pompidou. Ples-rat Društvena koreografija TkH 21 33

i druge pozitivne, humanističke afekte. Društvena koreografija koju Schiller opisuje redukcionizma, gde ponašanje zavisi samo od Očito, takvi su afekti protivrečni očiglednim čini se kao da naglašava umirujući osećaj opšteg genetskog sastava), jer insistira njihovom predstavama rata: sukobljavanjem, nasiljem, sklada, virtuozne saradnje, bez sukoba. U razvojnom sistemskom sadejstvu. Međutim, uništavanjem i smrću. Ali u suprotnosti isto doba, sklad plesanja, u svojim ranim, oba stanovišta u pogledu učinaka uloge pokreta zapadnjačke umetnosti plesa i rata postoji dvorskim oblicima, imao je pandan u vojnim u održavanju zajedničkog koraka – skladno i još jedan činilac koji dodatno problematizuje marševima i manevrima, jednako važnim umirujuće samoupravljanje zajednice ili, s druge njihovu povezanost, usled čega se ona dvorskim obredima. Prema Williamu McNeillu, strane, vežbanje ratobornosti – plesu pripisuju manje kategorično čini oksimoronom. Louis XIV je namerno preuredio vojnu rutinu moć ubedljivog izraza (persuasive expression). Do emancipacije pokreta (mobility) i dvorske plesove i levées da bi „plemstvo Otelovljenje (embodiment) postvaruje (reifies) pojedinca s pojavom modernog plesa u 20. učinio mirnijim kod kuće i daleko pokornijim i pokret i osećanja u ideologemu koja se može veku, uvrežena je bila tradicija dvorskog kraljevskoj volji“ (McNeill 1995, 134). Pa ako upotrebiti kao sredstvo različitih politika. plesanja od 16. veka iz koje će nastati balske za trenutak zavirimo u istoriju vojne veštine i igre krajem 18. veka kao izraz buržoaskog sagledamo oblike pokreta koji su uvežbavani od Situacije sa istorijom ● Najpre ću oponašanja plemstva.Osnovu za balske igre najranijih vremena, od građana-vojnika antičke preispitati epistemološki okvir za uspostavljanje s kraja 18. veka, dakle, dao je dvorski balet Sparte ili, još ranije, njihovih pandana u Kini i uporednih veza između rata i plesa kao dva kao javni spektakl, koji spaja dvorski kodeks Mesopotamiji, do gusto zbijenih vežbi današnjih zasebna područja znanja. Pripisivanje stabilnog ponašanja i božansko poreklo monarhije u profesionalnih vojski, oblik i značenje spoja značenja ili dejstva estetskoj formi plesanja isti poredak. Od dvorskog baleta do valcera, plesa i rata postaje obratno. Umesto ples-rata bez obzira na njegov prvobitni kontekst ta crta zapadnjačkog plesa neguje estetske sada možemo govoriti ratu-plesu, tj. o ulozi ispostavlja se neodgovarajućim. Na primer, nije ideale harmonije i gracioznosti u slici ratničkog plesa u ratu. Mirnodopski osećaj svako javno ispoljavanje masovno usaglašenog poretka zajednice. Sir John Davies, engleski zajednice u ratu radikalizuje i militarizuje sklad i pokreta totalitarni Gleichschaltung. Uopštena pesnik iz 16. veka, je to opevao ovako: saradnju u grupnu solidarnost. „Skupa u korak“ semiotička tehnologija ne bi bila od pomoći je lakonski izraz za unisono poštovanje takta – pri analizi pojedinačnih situacija, zato što ne Prava slika sklada u toj umetnosti sija skladno, ali ne nužno graciozno – i odnosi se i bi mogla da razluči njenu partikularnost, već Gde se muškarci razni i žene nižu na marširanje i na plesanje i na horsko pevanje bi samo potvrdila opšte načela označavanja. I svako ulogu svoju pleše vojnika i, kasnije, u savremenim evropskim Sa svoje strane, i različiti konteksti mogu A ipak se svi kao jedan u meri slažu, vojskama, na redovne vojne vežbe marširanja, proizvesti izomorfne prakse pokreta, što dovodi Ravnomernost poštujući savršenu. manevrisanja i svečanog baratanja oružjem. u pitanje kontekst kao određujuću strukturalnu I svi se skupa okreću, svi skupa kroče Dakle, ratnički plesovi odražavaju sasvim instancu, ali ne izjednačava položaj, ulogu, ni I jedni druge poštuju i grle. (Davies 1972)2 suprotne pojmove, raspoloženja i osećanja. značenja tih praksi pokreta shodno njihovim „Društveno povezivanje mišićima“ (muscular formalnim sličnostima. Umesto toga, drugačija Oko 1789, estetska slika harmonije bonding) učvršćuje euforično „osećanje analitička dinamika je potrebna, koja neće i gracioznosti u plesu se preobražava u drugarstva među borcima“ i podiže uzbuđenje dati prednost nijednoj od kategorija situacije: sliku skladnog društvenog odnosa između dražeći i regulišući osećanja i motivaciju. predmet, kontekst i perspektiva interpretacije. pojedinca i zajednice, shodno usponu nove Isprva, ovo se možda ne čini posebno novim Nasuprot tome, takva dinamika bi težila da političke klase, građanstva. Prema arheologiji ili provokativnim, već slično učinku sporta, objasni situaciju, čiji bi raznorodni činioci, diskursa kojim ples ili pokret tela inkarnira gimnastike i masovnih pokreta na stadionima u istorijski, politički, estetski i tehnološki, i uvežbava društveni poredak, a koji opisuje sklopu priprema za rat. Ali McNeill dalje navodi obuhvatali razne parcijalne odnose umesto Andrew Hewitt, Friedrich Schiller je bio taj da bič koji disciplinuje vojsku nije negativni uzročno-posledičnih odnosa tri kategorije. koji je artikulisao spajanje društvenog i aspekt straha od kazne, već naprotiv, „pozitivna Usvajajući ovde „situaciju“ kao središnji estetskog poretka, u jednom pismu iz 1793: sila“ koja vreba u „primitivnoj solidarnosti sveobuhvatni pojam, pozivam se na društvenog povezivanja mišićima“.3 Odnedavno, epistemologiju prakse Isabelle Stengers, tj. Ne mogu da zamislim bolju predstavu idealnog njegova teza se razmatra i u kognitivnoj na njen pojam „ekologije praksi“. To je takođe društvenog vladanja od engleskog plesa, koji se nauci, koja u sprezi s postdelezijanskom i stanovište messages to bricklane (parade sastoji od mnogih složenih figura koje savršeno političkom teorijom afekata istražuje odnos ground) Francka Leibovicija, odakle i potiče ta glatko teku. Gledalac sa galerije posmatra bezbrojne između visceralnih i emocionalnih senzacija, metodologija, a o kojem će biti reči kasnije. Tu pokrete kako se haotično presecaju, i menjaju hormonskih i drugih nervnih aktivnosti i stanja „situacija“ podrazumeva mrežu ili milieu raznih pravac brzo i bez reda ili razloga, a ipak se nikad „pripravnosti za akciju“ (action-readiness) u praksi i znanja, delovanja i sredstava, materijala ne sudaraju. Sve je uređeno tako da se jedan već raznim društvenim okruženjima (Protevi 2009). i znakova, stvari i koncepata, kao i raznih odnosa sklonio kada drugi treba da nastupi; sve je tako Naglasak je na odgonetanju bio-socijalnog s drugim mrežama i milieus (sredinama) izvan vešto, no ipak prirodno udešeno u formi, da se sadejstva (agencement) pomoću kojeg se date situacije. Stengers ekologiju prakse određuje čini kao da svi stupaju samo po svom nahođenju, izaziva bes. Time se uvodi analitički metod koji kao „sredstvo za promišljanje“ ili kao „sredinu a ipak niko nikoga ne ometa. To je simbol koji se razlikuje i od društvenog konstruktivizma (milieu) događanja“ (pri čemu je milieu igra reči najsavršenije odgovara čuvanju vlastite slobode (gde kontekst određuje ponašanje), ali i od koja označava i „sredinu“ kao središte i „sredinu“ i poštovanju slobode drugih. (Hewitt 2005, 2) genetskog determinizma (tj. esencijalističkog kao okruženje). Ona naglašava da „instrumenti nikada nisu neutralni“ i da stoga ne mogu biti 2 Concord’s true picture shineth in this art 3 Ispod ciljeva i slave kojima su objašnjavani i pravdani opšta sredstva, analitičke alatke, koje se mogu Where diverse men and women ranked be evropski ratovi, krila se primitivna solidarnost vezivanja primeniti u bilo kojoj situaciji, već ih oblikuje ona And everyone does dance a several part, mišićima. Strah od kazne, mada sasvim stvaran u vojskama ruka koja ih koristi (Stengers 2005, 185). Alatka Yet all as one in measure do agree, Starog poretka, bio je na dalekom drugom mestu iza pozitivne Observing perfect uniformity. sile zajedničkog emocionalnog identiteta koji je rutinski, (tool) je tehnologija koja se tiče moći situacije All turn together, all together trace prirodno, neizbežno preovladavao među dobro uvežbanim i aktuelizuje je, to jest, opisuje silu kojom se And all together honour and embrace. vojnicima. (McNeill 1995, 132) situacija razvija a praksa održava osnaživanjem 34 TkH 21 Društvena koreografija Bojana Cvejić

posmatrajući istoriju kao odsutni uzrok koji se mora ubrizgati u narativ da bi se objasnili odnosi zbog kojih u tekstu izbija politički nesvesno. Kao i sa Stengers, ovde i promišljanje s Jamesonom zahteva metodološka prilagođavanja, koje se nekom mogu učiniti i kao razočaravajuća izdaja čvrstih, ortodoksnih ontopolitičkih stanovišta. Ono što iz Jamesonove teorije treba zadržati, mada to neće biti dovoljno za moj pristup, jeste njegova pretpostavka da ideologija postoji i deluje kroz ples snagom ubedljivog izraza, kako sam gore već opisala. Ali da bismo razumeli kako plesni izraz retorički prenosi predstave, značenja i vrednosti koje se odnose na neku političku stvarnost a bez ikakvog određenog značaja niti pokušaja da je menjaju, Jamesonova struktura se mora sagledati kao situacija s milieuom, gde nijedan činilac ni učesnik ne uživa uzročno-posledično prvenstvo niti ulogu odsutnog uzroka čije bi naratizovanje moglo ponuditi prosvetljujuće razrešenje. Ono što bi se moglo dobiti ukrštanjem ove dve ☐ „...in a non-wimpy way“, video, Bojana Cvejić i Lennart Ples-rat podrazumeva da se uhvatimo u koštac naizgled nespojive epistemologije – ekologije Laberenz, prikaz sa izložbe Danse Guerre održane u Musée de la sa otporom koji je urođen nasleđu posleratnog prakse Isabelle Stengers i Jamesonove ideološke danse (Muzej plesa) u Renu, Francuska modernog plesa – koje sam gore opisala kao kritike političkog nesvesnog – jeste raznovrsnije i ispitivanjem u sadejstvu s drugim praksama. liberalno, humanističko i vitalističko nasleđe sagledavanje situacije, koje nudi oruđe mišljenja Epistemička prednost ovog metoda je u tome što plesa. U primerima koje razmatram u nastavku umesto da razotkriva slepe mrlje. Ovde želim podstiče misao kao opit, nagađanje (speculation) rada, taj otpor nije nameran, nije stvar politike da ukažem na to da bi sagledavanje uzajamnog koje istraživača u sadašnjosti okreće ka ni estetike, već pre ravnodušnosti, tišine ili dejstva između zasebnih praksi plesa i rata budućnosti, sa obavezom da prihvati neizvesnost odbijanja tih plesnih praksi da se postave u iz kritičkog ugla moglo da nas nauči kako se i rizik onoga što iz situacije ili njenih učesnika odnosu na rat kao na neposrednu političku one materijalno odnose jedna prema drugoj može da nastane. Međutim, ova metodologija ne okolnost njihovog staništa. Zato ću ispitati u određenim povesnim situacijama. Usled uzima u obzir obavezu (obligation), da upotrebimo tezu da je rat političko nesvesno tih plesnih toga, ples i rat bi se mogli iznova iscrtati (re- Stengersin izraz, prema istoriji, obavezu praksi. Koncept politički nesvesnog dugujem cut, recoupement), sklopiti (re-assembled, istraživača da zna kojoj istoriji pripada ili koja Fredricu Jamesonu, koji ga je razvio kao re-agencé) u uzajamnom određenju. Iako se istorija utiče na njega, kao i koje istorije okružuju metod marksističke analize književnosti. čini kao da formulaciju političkog nesvesnog ili se nadmeću za shvatanje posmatrane situacije. Jamesonova teorija politički nesvesnog dugujemo tradiciji čitanja Marxa uz Freuda, Zahtev za istorizacijom ili narativizacijom istorije nadograđuje Althusserovo tumačenje politički nesvesno ovde nije ni psihološki ni koja možda neće biti u duru (major key) nego marksističkog modela baze i nadgradnje. Glavna ideološki pojam, već estetska figura. Time ne u molu (minor key) izgleda nekompatibilnim s teza je da Marxov hijerarhijski model na dve želim da kažem da su ples ili plesači politički metodom ekologije prakse, zato što podrazumeva razine, koji je Althusser zadržao (mada oslabivši nesvesni rata, već da je ples razvio sopstvene kritički pristup prošlosti, koji Isabelli Stengers ekonomski determinizam baze), treba proširiti načine otelovljavanja i artikulisanja vlastite malo znači. Ali ako rat i ples postavljaju problem u vodoravnu strukturu međusobnih odnosa, pri nemogućnosti da se bavi temom rata. To što koji izaziva mišljenje, taj problem takođe čemu bi ekonomski i tehnološki vidovi proizvodnje ples nije mogao da učini u političkom smislu, obuhvata i zasebne istorije rata i plesa, jer istorije (modes of production) bili u neposrednom mogao je da izmesti, nadomesti, potisne ili igraju ulogu u prepoznavanju i opisivanju situacija odnosu s kulturom, ideologijom, sudskim i rekonfiguriše u estetskoj formi koja se zasniva u kojima se ples i rat odnose jedan prema drugom. političkim, na taj način ukidajući uzročno- na protivrečju između estetskog izraza i Ovde istorizacija, pre nego postajanje (becoming), posledično određivanje nadgradnje ekonomskom neposrednog političkog konteksta. Raspakivanje takođe podrazumeva prekid u preobražajima bazom. U svojoj poststrukturalističkoj preradi tog protivrečja će zahtevati pravljenje i ratne veštine, te koncepta i diskurzivne Althusserovog modela, Jameson istoriju vidi tehnologija i istorijskih narativa koji će ukazati kulture rata. Istorizacija takođe obuhvata i kao odsutni uzrok na mestu strukture: na problem koji estetski predmet nije uspeo istorizaciju plesa i njegovih tehnologija. vlastitim (estetskim) sredstvima sam da reši. Uopšteno govoreći, nastavak teksta ispituje istorija nam je dostupna samo u obliku koreografiju i ples kao alatke za opisivanje teksta […] naš pristup k njoj i ka samom Milieu izložbe kao istraživanje ● situacija u kojima se pojavljuju ili ističu Realnom nužno prolazi kroz njenu prethodnu Spajanje plesa i rata nastalo je na osnovu rat ili ratovanje. Ako nude tehnologiju za tekstualizaciju, njeno pretvaranje u pripovetku u poziva da budem kustos jedne izložbe, koji mi objašnjavanje rata i ratovanja, prakse plesa političkom nesvesnom. (Džejmson 1984, 38) se uputio Boris Charmatz, koreograf i direktor i koreografije moraju zauzvrat dozvoliti da ih Nacionalnog koreografskog centra Rena i rat i ratovanje prekomponuju kao tehnologije Kod Jamesona, politički nesvesno nekog Bretanje, poznatog i kao Musée de la dance, vojne strategije, vojne istorije, političke istorije, teksta jeste protivrečnost koju taj tekst nastoji po istoimenom Charmatzovom projektu. kao i pravnih i drugih praksi koje zajedno da nadomesti, izmesti ili potisne. Zato se on Impresioniran sofisticiranim preplitanjem nastanjuju i sadejstvuju u milieuu ples-rata. zalaže za istorijsku kontekstualnu analizu, arhitekture i drugih disciplina u studiji Eyala Ples-rat Društvena koreografija TkH 21 35

d’Arc, s koreografijom Salvatorea Viganòa, iz 1821; Tancrède, „ballet héroico-historique en cinq actes“, s koreografijom Charlesa Le Picqa, iz 1799.); koristi ples kao metaforu dvoboja i borbe (npr. Agon Georgea Balanchinea iz 1957), što se može porediti sa živim slikama (tableaux) iz klasičnog slikarstva i opere. Tematizovanje rata na predstavljački način potencijalno sadrži politički i estetski odnos prema ratu, izvan programske posvećenosti temi. Nekoliko baleta Sergea Lifara, šefa baleta Pariske opere od 1930. do 1944. i od 1947. do 1958. godine, bile su neoklasicističke obrade herojskih narativa iz antike (npr. Alexandre le Grand iz 1937). Neoklasicizam je dostigao svoj vrhunac u predvečerje Drugog svetskog rata a tokom rata održavao klasičnu indiferentnost i otklon od politike. U skladu s tim, herojske teme Lifarovog neoklasicističkog baleta bile su uzvišene apstrakcije koje su ples sprečavale da se suoči sa svakodnevnom političkom stvarnošću, na taj način učestvujući u francuskom “povratku ☐ Sa izložbe Danse Guerre, održane u Musée de la dance u posleratnog plesa rat isplivao kao političko redu” (retour à l’ordre) koji je nastojao da potisne Renu tokom septembra i oktobra 2013; Watch Out for Gorillas in nesvesno plesa i drugo, koja sredstva ples, haos rata. Nešto što je preostalo kao relikt od Your Midst!, video instalacija Marte Popivode i Ane Vujanović kao umetnička disciplina, i ratovanje mogu l’art en guerre, kao u naslovu jedne skorašnje „priuštiti“ (afford) da bi se međusobno opisali monumentalne izložbe umetnosti iz Drugog Weizmana o izraelskoj okupaciji Palestine i analizirali? „Priuštiti“ ovde ukazuje na pojam svetskog rata, jeste jedan pozorišni ritual koji je (Charmatz 2013) i s željom da „vrati telo“ priušćivanja (affordance) svojstva nekog nastao u to vreme – Grand défiléSergea Lifara.8 u složene rizomske strategije prostora u predmeta ili sredine koje im omogućava da Ovaj spektakl, koji se i danas izvodi, ne samo u savremenom ratovanju koje je pokazalo vrše neku radnju; poreklo pojma je teorija neobaroknoj Palati Garnier, već i na turnejama, Weizmanovo istraživanje, Charmatz je odlučio priušćivanja kao „mogućnostî delovanja“ koje „i dalje je jedan od najlepših i okrepljujućih da pri Koreografskom centru u Renu pokrene leže sakrivene u datoj sredini (Gibson 1977). prizora“ koji izaziva divljenje, kako je opisan projekt izložbe na temu plesa i rata. Pozvao je u jednom promotivnom tekstu. Defile plesačâ rumunskog kustosa Cosmina Costinaşa i mene igramo predstavu rata6 ● Kada iz trupe i škole Opere slika je disciplinarnog da istražimo, osmislimo i ostvarimo izložbu nam neki slučaj dozvoli privid da se može početi aparata klasičnog baleta, netaknut u neoklasičnoj pod naslovom Danse-guerre (Ples-rat). Ovaj „ispočetka“, istraživanje može široko zahvatiti estetici Lifarovih baleta iz Pariske opere. Red tekst proizilazi iz istraživanja koje prevazilazi dostupnu građu tako što će razgraničiti određeno za redom – najpre učenici, zatim umetnici iz okvire izložbe, pošto je moj rad bio ne samo polje istraživanja od susednih polja. Jedno od tih trupe, u složenoj hijerarhiji étoiles, solistes, kustoski, već i teorijski i umetnički. Izložba koja susednih polja koje ću ovde pomenuti i ostaviti sujets, corps de ballet itd. svečano marširaju je iz toga nastala obuhvatila je nove radove po strani jeste uloga plesanja u praistorijskim, uz muziku Berliozovog Marša Trojanaca. Njihov koje sam naručila od nekolicine koreografa, antičkim, srednjovekovnim, vanevropskim i marševski raspored odraz je vojne parade: najpre umetnika, video umetnika, filmskih stvaralaca savremenim plemenskim praksama ratovanja, pešadija, zatim konjica, pojedinačni zapovednici i teoretičara, uključujući Shir Hacham i Ida koje se tiču antropologije i istorije (Klastr 1994). itd. (vid. sliku na sledećoj stranici). I dok je Federa (Hacham & Feder 2013), Francka Umesto toga, mene pre zanima da istražim možda i zapanjujuće što Pariska opera ovaj Leibovicija, Martu Popivodu i Anu Vujanović,4 istoriju modernog i modernističkog plesa ne obred održava već duže od jednog veka, možemo Noéa Souliera5 i Lennarta Laberenza, s kim bih li našla radove koji ističu rat kao svoj glavni se zapitati i koji su to aspekti neoklasičnog sam sarađivala na dva videa. Njihovi radovi predmet ili temu. Temu rata u istoriji baleta povratka redu danas i dalje od značaja. Ne izložbu čine koreografskim agencementom i klasičnog plesa nalazimo u sinhronijskom samo utočište visoke umetnosti, Grand défiléje dokumenata, tekstova, crteža, zapisa, video reprezentacijskom poretku pripovedanja, pri takođe i mastodontski čuvar izomorfnih paralela snimaka, intervjua i filmova, kao i drugih čemu se slave vojne pobede svetkovinama između klasičnog baleta i klasičnog ratovanja predmeta, poput rekvizita i alata (vid. slike koje su obuhvatale i plesanje (npr. Ballet de la na način Clausewitza i Jominija. Soulierova ispod/iznad). Dakle, izložba je zamišljena prospérité des Armes de France, izveden samo instalacija istražuje kako geometrija postaje, s kao mašina i medij raznih uvida, koncepata i jednom, 1641);7 koriste antički i srednjovekovni jedne strane, žiža disciplinske obuke baletskih tehnologija u milieuu koji sâm traži da bude mitovi i legende kao alegorije (npr. Jeanne plesača i vojnika, a s druge, upravljanja kretanjem nastanjen i isproban. Polazište i sastav izložbe u prostoru, pomoću plesnih figura na podijumu počivaju na dvostrukoj osnovi: prvo, u kojim 6 „Ludimus effigiem belli“ ili „Igramo predstavu rata“ kao i planova bitaka (vid. Soulierove crteže). je povesnim trenucima i estetskim figurama je početni stih pesme „Scaccia ludus“ (Igra šaha) Marca Treća i poslednja oblast povezana s Girolama Vide ili Marcusa Hieronymousa Vide (1485‒1566) temom rata u plesu tiče se odnosa nemačkog 4 Watch out for gorillas in your midst! (Faites attention aux iz 1527. ekspresionističkog plesa (Ausdruckstanz) sa gorilles parmi vous!) (Pazite na gorile među vama!), video 7 „Ballet de cour en 5 parties et 36 entrées, musique par F. instalacija Marte Popivode i Ane Vujanović. de Chancy, livret attribué à Desmaret de Saint Solin, donné 5 Corps formés, instalacija s crtežima, tekstom i videom les 7 et 14 févr. 1641 au Palais-Cardinal à Paris, par les 8 Lifarovom delu prethodi balet Le Défilé šefa baleta Pariske Noéa Souliera. gentilhommes de la cour et quelques danseurs professionels.“ opere, Léa Staata iz 1926. 36 TkH 21 Društvena koreografija Bojana Cvejić

☐ Grand défilé Sergea Lifara, nepoznat izvor velikim slovima jeste WAR Yvonne Rainer iz 1970. Džersiju 6. novembra 1970. „Mislim da je rekla Izveden samo dva puta, kao „prateći događaj“ da će koristiti jezik rata, ratnih manevara i usponom nacional-socijalističkog režima do uz izvedbe Grand Uniona, WAR je kod kritičarâ osmisliti pokret koji bi proizašao iz takvog 1936, kada Joseph Goebbels plesanje u javnim uglavnom ostala neprimećena koreografija, jezika“ (Catterson), ali nije pominjala da će političkim svečanostima zamenjuje marširanjem. a Rainer je nikada nije videla u javnoj izvedbi. se u izvedbi takođe čitati tekstovi o ratu. Studije plesa su se već u znatnoj meri bavile Međutim, razna građa u vezi s njom – zapis i Prema Catterson, u procesu stvaranja dela, političkim značajem i položajem Mary Wigman, beleške, tekstovi, fotografije i crteži – pažljivo nije bilo reakcija ni posebnih rasprava o temi Gret Paluccae i drugih koreografa i pedagoga je sakupljena i objavljena u Rainerinoj knjizi rata, pošto su radili na „materijalu sličnom koji su posle 1936. ostali u Nemačkoj i nastavili Work 1961‒73. Njenim rečima, WAR je bilo: onom sa radionice“, to jest, na igrama koje s radom, smatranim politički „neutralnim“ su obuhvatale i grupnu improvizaciju, kao (Preston-Dunlop 1989, Manning 1989, Kew 1999, ogromno i široko netakmičarsko delo nalik i zato što „se podrazumevalo da su svi tu Toepfer 1997). Međutim, ova neutralnost deluje igri za 31 osobu [...] rat dupetom unazad, u bili protiv rata“. Ranije te godine, Rainer je sumnjivo u poređenju sa otvoreno antiratnim kojem su ljudi rado predavali zastave i birali ili učestvovala u protestima protiv američkog stavovima iznetim u delu Zeleni sto (Grüne da budu zarobljeni ili smrt. Fizičke metafore napada na Kambodžu, kada je iskoristila čuveni Tisch) Kurta Joossa, nastalog godinu dana pre za rat bez motivacije. (Rainer 1974, 161) hod radnika iz Metropolisa Fritza Langa kao Hitlerovog dolaska na vlast i, povrh toga, u koreografsku sliku za protestnu šetnju u Sohou svetlu Joossove odluke da napusti Nemačku Ovo me je nagnalo da istražim taj rad, s nekolicinom izvođača (vid. sliku desno). kada je odbio da otpusti Jevreje iz svoje plesne o kojem sama autorka, 40 godina kasnije, Nakon koreografijeWAR , Rainer je bila trupe. Ekspresionističke teme, poput smrti i izgleda, nema previsoko mišljenje. Otkrivajući pozvana i na protest protiv cenzure u vezi sa tužbalice palim žrtvama, prožimale su nemački Rainerin WAR, usredsredila sam se na odnos upotrebom američke zastave u hepeningu ekspresionistički ples 30ih godina, bez obzira tog dela prema ratu i konkretnim političkim The People’s Flag Show, kada su ona i još na njegove političke stavove – saučesništvo, događajima u Vijetnamskom ratu 1970. Sva pet plesača izveli Trio A nagi, sa zastavama neutralnost ili pacifizam. Tako različiti slučajevi zapažanja koja slede nastala su iz razgovorâ vezanim oko vratova (9. novembar 1970, poput Jenny Geertz, Otta Zimmermanna, Martina koje smo Lennart Laberenz i ja vodili tokom Judsonova memorijalna crkva). Gleisnera, Haralda Kreutzberga, Mary Wigman, juna i avgusta 2013. s Rainer i Pat Catterson, Kada sam Rainer pitala koje je izvore koristila Gret Paluccae, kao i poznatog kontroverznog plesačicom koja je takođe učestvovala u o vojnim manevrima, ponovila je tvdnju iz plesa na otvaranju Olimpijskih igara 1936, Vom nastanku i izvedbi koreografije WAR 1970. knjige Work 1961‒73, da je čitala opise rata Tauwind und der Neuen Freude (O prolećnom S njima dvema smo razgovarali za potrebe iz Ilijade i Peloponeskih ratova, ali nije navela vetru i novoj radosti; vid. Cvejić i Vujanović 2012, dva video filma koja smo zajedno napravili, nikakvu posebnu literaturu niti bilo kakve 67‒68), pokazuju kako su metafora, simbol Yvonne Rainer’s WAR i Judson Flag Show. druge izvore. Partitura (score) sadrži termine i arhetip pružali ideološki napete ali politički Sastav 31 izvođača koreografije WAR otkriva koji upućuju na rat ali su ili namerno uopšteni i neodređene, ili barem dvosmislene, značenjske njen kontekst: bila je to grupa sastavljena arbitrarni – vojni pojmovi poput „opkoljavanja“ figure. Ono što ovi slučajevi takođe pokazuju uglavnom od umetnika i filmskih stvaralaca i „ubrzane pacifikacije“ i glagoli „agresivnog je da tematizacije rata u plesovima nastalim kao i nekolicine plesača, koji su svi bili prizvuka“ (Rainer), poput „ubij i beži“, „traži i u vreme rata, naročito u vreme Goebbelsovog polaznici Rainerine radionice koja se bavila uništi“ – ili su određeni citati iz raznih povesnih „opšteg rata“, pozivaju koreograge da odgovaraju improvizacijom u njenom potkrovlju, „ljudi opisa ratova, od kojih su dva najduža kritični za političku umešanost, što može da bude koje je zanimalo da dožive telesno iskustvo komentari američkih operacija u Vijetnamu. moralna prepreka u pokušaju da se promišljenije a mislim da nisu znali u šta se upuštaju“ Ali glavni cilj Rainerine istrage otkriva se u analizira kako i zašto su ti plesovi bili važni (Catterson). Catterson nije mogla da se seti opštoj strukturi rada koja je struktura igre. i kakvu su poruku pokušavali da prenesu. da li je Rainer ikada otvoreno rekla da će tema Redak primer koreografije, ako ne i jedini biti rat, kada je pozvala polaznike radionice Imali smo pravila za dve ekipe: ako se desi ovo, zabeležen u istoriji plesa na Zapadu koji da naprave i izvedu rad uz improvizacije Grand onda se desi ono. Ako započneš taj manevar, onda eksplicitno ističe „rat“ u svom naslovu i to Uniona na Rutgersovom univerzitetu u Nju drugi moraju da ti se pridruže ili, recimo, možeš da Ples-rat Društvena koreografija TkH 21 37 budeš izviđač ili špijun ili da odeš kod drugih... Mogao i nije bilo dramskog tumačenja uloga. Gledano zastavu, zbog čega je Rainer ubacila i prostirku si da budeš zarobljen. Svašta je moglo da se desi, unazad, njena uzdržanost u pogledu političkih od veštačke trave i kaput da bi ih postavila predvideli smo velik opseg mogućih zadataka. (Rainer) značenja njene estetske politike – ili politike ispod zastave tako da ona ne dotakne zemlju. forme kao vladajućeg poretka i u koreografiji Ali američka zastava nije bila jedini rekvizit I te dve ekipe su bile generične, bez ikakvih WAR i u drugim njenim radovima – ipak se čini koji se mogao koristiti u igri „Zarobi zastavu“, znakova pripadnosti dvema zaraćenim stranama, kao da je računala na političko dejstvo otvorenog koju je Rainer kao dete igrala na ulicama San dok je jedina uloga predvodnika bila da izvikuju oblika, prožetog estetikom ravnodušnosti. Franciska. Bila je tu i zeleno-narandžasta zapovesti, poput „ubaci se“, ili nazive grupnih To je objasnila u razgovoru s nama: replika Jaspera Johnsa, koja je, postavljena manevara, poput „Mary Wigman gomila“, što je uz crvene, bele i plave zvezdice i pruge, imala zapravo bilo ekvivalentno zadacima u plesu. Na U igrama je takmičenje dobroćudno. Ovo dejstvo relativizovanja i neutralisanja „drečavog primer, jedan od ratnih manevara se zasnivao je bilo kao simulacija antagonizma. Bilo je simbola ratnih huškača“ (Catterson). na balskim igrama: par plesača je plesao s takmičenja u određenoj meri, ali nije bilo Upitana da li je bila svesna političkog značenja jastukom između sebe i oboje „su na umu imali antagonizma. Možda čak ni u sportskom smislu, Rainerinog zahvata u radu WAR, Catterson je drugačiji balski korak“, pa „su bili u raskoraku“. pošto nije bilo pobednika ni gubitnika. zastala i zamuckujući, promislila pred kamerom: Kako mi je Rainer ispričala: „To je bio sukob, je li tako? Nijedno nije moglo da prati drugo. Bili Catterson objašnjava da su se igre igrale Šta je tu bila Yvonnina namera? Šta je htela? To su svi uvrnuti (strung out) kao parovi“. Rainer besciljno, često u vidu dugih manevara čije je nam zapravo nije saopštila. Mi smo samo radili to što je postavila disonancu ili trapavo plesanje u razvijanje iziskivalo mnogo vremena, ali: se od nas tražilo, baš kao na radionici. Za mene, ono parovima kao doslovnu, telesnu metaforu rata. što sam čula – tekstovi koje je Norma izvela... – bili U skladu s njenim stilom činjenične (matter-of- to je na neki način odgovaralo utisku koji je su ... iz raznih bitaka koje je Yvonne sakupila... Nije mi fact) izvedbe, to je izvedeno „sasvim ozbiljno“ [Vijetnamski] rat odavao u to vreme... Bila je to promaklo, sapostavljanje tih mladih ljudi – u... – ali „nenametljivo... ne pokušavaš ništa da to samo kontinuirana igra mogućnostî koje su igranju rata protiv tog veoma stvarnog glasa. Šta je prodaš, nego gledaš svoja posla“ zato što samo istrajavale. Bilo je to samo kao... rat... Oni on govorio, to ste mogli sami sebi da protumačite. „manevri govore sami za sebe“ (Rainer). zauzmu ovaj, onda onaj grad. Samo se nastavlja i Utisak gledalaca o velikoj skupini ljudi koja nastavlja, ništa se ne menja, ništa se ne rešava. I, kao da je odgovarala na Cattersonino pitanje, se igra rata potvrdile su i Rainer i Catterson. Rainer nam je rekla: „Pa, u ratu je motivacija Rainer je to nazvala „lažnom utakmicom“ u Jedini element koji je pružao provokativnu rodoljublje i vera da imate pravedan cilj... Ovde kojoj je svako mogao da bira da bude zarobljen oštricu granicama predstavljanja rata u SAD nije bilo takve pozadinske priče. Trebalo je bila je upotreba američke zastave. Izvedba samo reprezentovati efekte, znate, slikama“. ☐ M Walk Protest in Soho, Yvonne Rainer’s Papers, The Getty na Rutgersovom univerzitetu je trebalo da Research Institute bude otkazana zbog sumnje da će oskrnaviti *** Ovde nam Rainerin WAR pruža priliku da iznesemo još neka zapažanja o želji i sposobnosti koreografije i eksperimentalne umetnosti u SAD da se 70ih godina uhvate u koštac s pitanjem rata. Za većinu umetnika, pripadnika srednje klase, koji su mogli da izbegnu mobilizaciju jer su bili u braku ili na studijama, Vijetnamski rat se odvijao daleko, negde drugde. Pored toga, „dovođenje rata kući“, kako je Martha Rosler naznačila u svom istoimenom radu (Bringing War Home), podrazumevalo je osudu američke vlade zbog obmanjivanja svojih građana. To su bolje mogla da učine svedočanstva razočaranih veterana iz Vijetnama, nego umetničke prakse čiji je glavni cilj bio konceptualni rat protiv predstavljanja (representation).9 Na estetskom području ispitivanja ma-kakvog-pokreta i ma- kakvog-metoda Judsonovog plesnog pozorišta, s posebnim naglaskom na svakodnevno, vojne

9 Na primer, takva svedočanstva su se mogla čuti prilikom Winter Soldier Investigation (Istrage zimskih vojnika), medijskog događaja koje su organizovali Vietnam Veterans against War (VVAW, Vijetnamski veterani protiv rata), udruženje veterana Vijetnamskog rata koji su odlučili da javno progovore o zlodelima američke vojske u Vijetnamu, kao i o lažnom predstavljanju Vijetnamskog rata u medijima. Kako mi je rekao, Steve Paxton je odlučio da jednu svoju izvedbu u celini posveti prikazivanju dokumentarnog filma Winter Soldier iz 1971. o istoimenoj istrazi, ne bi li pružio još javnog prostora nečemu što u okviru filmskog polja nije dobijalo dovoljno pažnje. Rad koji je iz toga nastao nazvan je Collaboration with Wintersoldier (Saradnja sa Zimskim vojnikom, 1971). 38 TkH 21 Društvena koreografija Bojana Cvejić

☐ Yvonne Rainer's Papers, Getty Research Institute (spisak glagolâ sastavljen za WAR) Ples-rat Društvena koreografija TkH 21 39

☐ Yvonne Rainer's Papers, Getty Research Institute (rukopis poglavlja o koreografiji WAR, u: Y. Rainer, Work 1961–1973, 1974.) 40 TkH 21 Društvena koreografija Bojana Cvejić

taktike bi mogle da budu još jedan izvor građe jeu de la guerre Guya Deborda, koja liči na šah ☐ Steve Paxton (portret); foto: Lennart Laberenz za koreografska istraživanja. Možda je Rainer utoliko što joj je cilj vežbanje „dijalektike svih verovala da bi njena formalistička sapostavljanja sukoba“ (Debord i Becker-Ho 1977) – jeste forme, gde prevladava kontakt kao dodir a osećaj demotivacije, ravnodušnosti, čak i znatno manje se uočava rizik skakanja, padanja i uopštenih ratnih manevara i jezičkih pojmova „razonode“ u Rainerinom radu, razigranosti sudaranja u vazduhu. Zajednica praktičara KI se sa jednom zbunjujućom mešavinom ratnih nalik na „dečju igru“ (Catterson) koja prožima okuplja oko holističkog poimanja sopstva, koje, događanja, uključujući i Vijetnamski rat, mogla da Rainerino koreografsko igranje rata. po Marku Pritchardu, nekadašnjem kontakteru, politički kastrira svako samo ne autoreferentno promoviše „pasivan pogled na život“, „opuštanje“ značenje (ples kao ples). Uostalom, američka ne smemo se bojati proučavanja kao prirodnije od napetosti, prepuštanje „toku je zastava bila glavni simbol i sredstvo ratnog borbe ● Kontaktna improvizacija (KI; prirodnih događaja, umesto pokušavanja da se huškanja, što je kontekstualno pojačavalo Contact Improvisation, CI) nastaje paralelno sa tim događajima upravlja“ (Pritchard 1997, 197). dejstvo same upotrebe zastave, više nego što zamiranjem antiratnog pokreta sredinom 70ih Pre nego što je postao meta kritika kao New bi oni koji ne poznaju prilike u SAD 70ih godina godina. Nakon 40 godina, KI je plesna tehnika i Age palupska igra (New Age shuffleboard), mogli da pretpostave. Obradom ratnih manevara praksa koja u očima svojih zagovornika i dalje „posthipijevsko utočište duše“, KI je bila sport- tehnikama improvizovanja pravila igre, Rainer je prenosi prvobitne pobude koje je imala kao kao-umetnost (art sport) proizašao iz Paxtonovog uspela da odgovori ujedno i na trenutak dnevne društveni pokret (u smislu ravnopravnosti, poznavanja aikida i atletike, koji nastaje u isto politike i na zahtev za modernističkim traganjem emancipacije, istraživanja, antidiskriminacije, vreme kada i njegovi eksplicitni radovi-akcije za autonomijom koreografije i izvedbe, čije čvrste pozivanja na politički smisao spontanih protiv Vijetnamskog rata i Nixonove administracije strukture ni ratna građa ne bi mogla da naruši. i neposrednih telesnih radnji, nasuprot (npr. Collaboration with Wintersoldier, 1971. Politički nesvesno tog zahvata leži u slikama koje promišljanju itd). Ali ako uzmemo u obzir mišljenje i Air, 1973). Pitanje koje me je nagnalo da nastaju u kontradikciji s Rainerinom estetskom onih koji ne dele entuzijazam „kontaktera“, preispitam genealogiju KI je aikido: šta je ta politikom, zato što, uprkos svom ispražnjenom kritike koje su još neki rani sledbenici upućivali borilačka veština, poznata po preusmeravanju formalizmu, njen WAR ipak predstavlja rat kao unutar pokreta u međuvremenu su opravdane. protivnikovih napada i stapanju s napadačem, igru. Važna razlika između rada WAR i tradicije Mada je imao ambicije da postane samonikla učinila za kontaktnu improvizaciju u odnosu ratnih igara – na primer, Kriegsspiela iz 18. veka, „narodna umetnost“, brzo je uočeno da pokret na rat i učešće u telesnoj borbi. Šta se desilo s koji se koristio u strategijskoj obuci pruske služi potrebama belih, liberalnih, fakultetski robusnijim atletskim svojstvima ranih pokušaja, vojske10 ili njegovih kasnijih potomaka, kao obrazovanih mladih pripadnika srednje kao u predstavi Magnesium (1972), radu koji klase („Kontakt nas čini celovitim i zdravim: je uveo KI a koji je Paxton razvio s nekolicinom 10 Kriegsspiel su osmislili poručnik Georg Leopold von Reiswitz i njegov sin Georg Heinrich Rudolf von Reiswitz iz uravnotežuje nas“, rekao mi je jedan plesač). mladih muškaraca, ne plesača nego sportista na Pruske vojske. Vremenom je razvio virtuoznu tehniku duetske Oberlinovom koledžu? Kako mi je Paxton ispričao, Ples-rat Društvena koreografija TkH 21 41 u prvih deset minuta ovog rada, radilo se samo U padanju i drugim situacijama koje je ne zauzmete „samonanet položaj u odnosu na o „grubom sudaranju u vazduhu i padanju na kasnije razvio u okviru KI, Paxton je uočio napad“ ili, drugim rečima, ako se „ne umlitavite“ strunjaču“. Da li je bilo ikakve namerne ili skrivene percepciju iz koje je želeo dalje da radi: telo je u borbi, onda niste laka meta: „mnogo je teže da veze između sirove grubosti KI kao umetničkog pod naletom adrenalina, „nešto ti se dešava vas napadnu, zato što se ne dojmite kao žrtva“ sporta 70ih godina i posleratnih političkih što ne razumeš u potpunosti, što misliš da je (Paxton). To me je nagnalo da pitam, možda stavova, raspoloženja i stanovišta? U filmu ...in a možda opasno“, a to može biti i vrtoglavica ili tendenciozno, da li se kontakteri mogu smatrati non-wimpy way koji sam napravila s Lennartom dezorijentacija. Ali bojazan nastaje iz odsustva posebnom vrstom ratnika, opremljenih tehnikom Laberenzom, Paxton se pozabavio ovim pitanjima. svesti o opasnosti, čemu je, po Paxtonovoj za čuvanje i sebe i drugih? Paxton se nije složio: Sasvim nasuprot mnogim plesnim izrazima tvrdnji, moguće prilagoditi se. Ono što ga je koji naglašavaju uspravnost (npr. balet i privuklo aikidu bio je sam pokret, koji je smatrao Iako sam plesače obučavao pomoću borilačkih Cunninghamova tehnika) ili hodanje (pešački „prelepim“, a tek kasnije je shvatio da ga je kod veština i izazova njihovom osećaju i orijentaciji i stavovi i stilovi), KI uvodi padanje kao glavni aikida zanimala njegova kontra-tehnika borbe: stvarnoj snazi i svemu tome, smisao je bio u tome pojam. Nancy Stark Smith, značajna plesačica da oni nisu ratnici. Smisao je bio u tome da, šta iz prve generacije kontaktera, opisuje svoja Bila je to duboka promena, od plesanja u pokret god da rade, pošto je to improvizacija i određena iskustva iz doba kada je učila kako da pada: aikida, gde odjednom više niste imali umetnost je najopštijim pojmovima, znate, Newtonove fizike, kao razlog zašto se krećete na taj način, već predlog (the proposal) ne opisuje nikakvu osobu. Kada sam počela namerno da padam, uočila sam ste se tako kretali da biste preživeli [kurziv je Ono što nedostaje je psihologija, osećanja, intelekt jednu slepu mrlju. Negde posle započetog padanja dodat]... Na nasilje ste odgovarali harmonijom – – mnogo toga što znamo da jesmo i da imamo. a pre kraja pada, zamračilo mi se. A onda je usledio neverovatno! Znate, zaštita svih umešanih strana pod. Srećom, u početku su tu bile strunjače. Ubrzo je tu predstavljala veoma širok zamah mišljenja. Njegova definicija tipa subjektiviteta koji i dalje sam naučila da je kraj pada ujedno početak sledećeg važi za KI krajnje je negativna: ona odriče bilo pokreta, obično kotrljanja. To me je usmeravalo kuda Mit o rođenju aikida prati otkrovenja kakvo značenje i sadržaj kategorijama koje su da odem. Pa bih se otkotrljala. Na kraju jednog koluta, njegovog osnivača i gurua, Moriheija Ueshibe. neophodne za zauzimanje bilo kakvog stava. Još nastupio je još jedan, pa još jedan. Onda sam uočila Ueshiba je svoje treće duhovno buđenje jedan deo Paxtonove obuke u KI od 70ih godina je još jednu slepu mrlju. Negde posle početka a pre doživeo tokom vojne službe u Drugom njegov „Small Dance“, poslednjih pet minuta rada kraja kotrljanja, bila je tama. Međutim, u toj tami sam svetskom ratu, kada je imao sledeću viziju: Magnesium, koji prikazuje muškarce kako samo osetila sam telo u pokretu, telo koje je jednostavno stoje. Paxton to objašnjava kao metod „razobuke“ znalo kuda ide. (Stark Smith i Nelson 1997, 50) Put ratnika se pogrešno shvata. To nije sredstvo (detraining): „oslobađanje krinki koje nosimo, za ubijanje i uništavanje drugih. Oni koji nastoje da društvenih i formalnih krinki, sve dok se telesno Paxton ovo povezuje s kotrljanjem u aikidu, se takmiče i nadvladaju jedni druge čine strašnu ne dogodi po svom nahođenju“. Za Paxtona, koje mu je dalo „ideju da možeš samo da grešku. Razbiti, povrediti ili uništiti, to su najgore razobuka znači guljenje društvenih, istorijskih, odskočiš sa planete i ne brineš kako ćeš se stvari koje ljudsko biće može da učini. Istinski stilskih, formalističkih slojeva kože sa tela, da spustiti“. Kolut u aikidu je „sjajan prikaz fizike Put ratnika je u sprečavanju tog krvoprolića – to bi se došlo do „mase, kostiju, živaca i oseta“: padanja“ ali, što je još važnije, i vid zaštite od je Veština mira, moć ljubavi. (Hyodo 2010, 76) povrede: „Jer ako ćeš da padneš, ako se bacaš Naglašavam da su plesači u ovoj vrsti plesanja ka padu, onda imaš samo taj delić kontrole Osim utopijske uloge prikazivanja drugačijeg ljudi ne u društvenom smislu nego u životinjskom pada i možeš da promeniš pravac udesa tako načina borbe, načina koji razrešava dvojni sukob smislu, da ne treba da se osmehuju, da pogledi da bude povoljan po tvoje telo i situaciju.“ tako što napadača štiti od povrede, Paxton ne treba da im se sreću, da ne treba da govore, da aikido vidi i kao učešće u borbi, čega se, tvrdi, ne treba samo da budu tamo kao životinje, snopovi ☐ franck leibovici, messages to bricklane (parade ground), možemo bojati. Cilj izučavanja ovog pokreta je živaca, mase i kostiju... da dodiruju druge snopove prikaz sa izložbe održane u Danse Guerre Musée de la danse (Muzej plesa) u Renu, Francuska oslobađanje opasnosti od stradanja u napadu. Ako i dozvole da to bude rad. (Paxton 2004)

Negativno određenje subjektiviteta proizvedeno u okviru KI treba sagledati iz šire perspektive farme Mad Brook, smeštene u prelepom krajoliku severoistočnog Vermonta („Severoistočnog kraljevstva“), na koju su se, kako je dobro poznato, Paxton i još nekoliko drugova iz postvudstočkog post1969. naraštaja povukli i na kojoj smo obavili i razgovore s njim. Ova zajednica – nekada kolonija u hipi-stilu gde su se život i rad mešali do nerazdvojivosti, a sada mesto za rad, uzgajanje vlastite organske hrane i mesto gde bi se ostarilo daleko od gradova i predgrađa SAD – čini se sasvim povučenom od društva.11 Izolacija počiva na

11 Pola nacije je gojazno – šta to znači? Šta to znači u smislu naše proizvodnje hrane, našeg pripremanja hrane, naših života, mislim, depresivno je, znate, mislim da je to zamka, nisam mislio da bi ovako brzo moglo da usledi, mislio sam da jedno carstvo opada vekovima, a ne za samo jedan naraštaj. Nisam znao da možete jednostavno spasti s prestola, znate, i 42 TkH 21 Društvena koreografija Bojana Cvejić

bespomoćno se mlatiti, pokušavajući, znate, gde ste bili – ja sam nekad bio gore ali sada – sada nekako izgleda kao da ne mogu da ustanem, znate. To – ja – izgleda kao da se tako nešto sada dešava, a da li ćemo sasvim spasti i nećemo moći da ustanemo, ne znam. (Steve Paxton u ...in a non-wimpy way) Ples-rat Društvena koreografija TkH 21 43 negaciji, unutrašnjem mehanizmu zaštite koji se može objasniti pomoću shvatanja imunizacije kod Roberta Esposita. Imunitet je odbrambeni aparat koji ima i biološki i sudski registar značenja: vakcinacija štiti telo od nekog virusa tako što ga inficira upravo tim virusom, da bi telo proizvelo odbrambenu vojsku antitela; u pravosuđu, imunitet znači izuzeće od krivičnog gonjenja. U političkom registru, imunitet znači izuzimanje subjekta od njegovih obaveza i odgovornosti koje bi važile pod uobičajenim uslovima i obavezivale ga spram drugih. Imunitet prožima život i moć kroz negativan oblik koji štiti i čuva život. Esposito piše da imunizacija:

spasava, obezbeđuje i čuva organizam, bilo pojedinačan bilo kolektivni, ali to ne čini izravno ni neposredno; naprotiv, ona organizam podvrgava stanju koje istovremeno poništava ili smanjuje njegovu sposobnost da se širi. (Esposito 2006, 24)

Zato je poništavanje moći do neke mere takođe i poništavanje života, ali je neophodno da bi se život sačuvao. Prema tome, KI, u Paxtonovoj verziji, sadrži jedno savršeno ubedljivo pošto se usitnjavanje terorističkih građanskih ☐ franck leibovici, messages to bricklane (parade ground), protivrečje. Ako za one koji upražnjavaju KI da ratova stapa s međunarodnim ratovanjem video kadar bi imali znatno zdravije kičme od drugih ljudi putem ekspeditivnih „humanitarnih“ vojnih vežbanje znači svođenje sebe na telesno biće i intervencija. Borbe prsa u prsa između dve ili primećuje: strunjača i bojno polje teško da poništavanje svega što bi se u tom procesu moglo više zaraćenih strana zvanično u ratu zamenili mogu da se poklope. Osim toga, na videu vidimo smatrati preprekom (intelekt, politička mišljenja, su sukobi niskog intenziteta (“low-intensity i gledaoce kako sede po logoru, a obuka pre liči strasti itd), onda je plod takvog režima obuke conflicts”), dugotrajne borbe državnih i na hvalisavu paradu za rodbinu i prijatelje. beskičmeni privatni život subjekta koji je imun, nedržavnih učesnika, često u asimetričnim Leibovici koristi koreografska sredstva u ravnodušan ili nemoćan da se suoči s politikom gerilskim sukobima, s civilnim žrtvama koje snimanju i analiziranju pokreta te skupine. Dva izvan svoje vakcinisane zajednice – možda ne na se najpre čine malim, ali vremenom rastu do stručnjaka ih zapisuju labanotacijom. Beleže ih mlitav način, ali je takav subjekt ipak mlitavac. razine koju poznajemo iz klasičnog ratovanja. i usmeno, simultanim komentarom. Tekst koji Franck Leibovici već neko vreme istražuje iz toga nastaje daje se ne-plesačima, koji onda Koroegrafija: sredstvo za sukobe niskog intenziteta putem razne građe treba da izvedu gestove na osnovu zapisa. U pražnjenje ideologije ● Ispitivanje KI koja kruži javnim prostorom (propagandni nizu ponovljenih opisa (re-descriptions), pokreti posle Vijetnamskog rata pokazuje ubedjivi izraz filmovi, časopisi, uputstva, pesme itd), obuke postepeno gube na posebnosti i postaju (persuasive expression) plesa koji nastoji da posmatrajući ih kao predmete koji „priušćuju“ sve raznorodniji i generičniji, neprepoznatljivi, se vakciniše protiv rata i agresije, i u telesnom funkcije, pokrete i idioritmove od kojih možemo lebdeći van konteksta. Ono što ovaj koreografski i u konceptualnom smislu. Ali njegova slika saznati svašta o raznim registrima tih situacija. ponovljeni opis otkriva, piše Leibovici, jeste da: rata je slika borbe prsa u prsa, gde se agresija Leibovici svoje istraživanje sprovodi kroz niz ispoljava u telesnom smislu. Rat, nekada miniopera za ne-muzičare, gde opera predstavlja vežbanje oblikuje tela kao i duhove. i samo bi urezan u mašti kao klasična, simetrična borba promenljiv raspored raznorodnih elemenata. U javnost, gledaoci i kolektivi koje te obuke proizvode i izravno sučeljavanje na bojnom polju, ili radu messages to bricklane (parade ground), mogli da razlikuju pokrete koji su formalno „teatru operacija“, prograšen je mrtvim krajem ne-koreografiji za ne-plesače, Leibovici opisuje istovetni. inače, kako bismo objasnili činjenicu da 70ih godina (Paul Virilio), kada je zamenjen jedan video sa interneta, koji prikazuje obuku isti rekvizit nalazimo u vojnim logorima za obuku, „nuklearnom verom“ u konačno oružje za neke političke skupine u improvizovanom zabavištima, šetnjama za rekreaciju, plesnim odvraćanje neprijatelja i nametanje potpunog logoru. Njihovi rekviziti – gume, cevi, bodljikava predstavama? vežba se ne može pročitati osim mira. Paul Virilio taj mir vidi kao nastavak rata žica, vreće s peskom – prizivaju duh gerilske kroz svoje posledice. i samo će takvo shvatanje drugim sredstvima – veštinom odvraćanja improvizacije, kako ih reklamira jedan promotivni dozvoliti da razumemo da, iako možda koriste (art of deterrence), koje unedogled produžava časopis – kako zatégnuti mišiće bez tegova. slične gestove, bodymotionspacesthings „čist“, logistički rat, kroz beskrajne pripreme a Shodno etosu gerilskog ratovanja, obuka roberta morrisa ili fact of matter williama bez izvršenja (Virilio i Lotringer 1997). Od 90ih se može odvijati bilo gde, kao i molitva, bez forsythea pripadaju drugačijim svetovima, čije se godina a naročito od 11. septembra, „priroda“ posredovanja. Ali u tom videu, obuka izgleda javnosti razlikuju. ne postoje umetničke prakse, rata se čini više „nečistom“ i asimetričnom, kao ples, čiji bi pokreti bili beskorisni u pravim samo zasebne ekologije. (Leibovici 2013) borbama. Prema tome, moramo se zapitati ☐ franck leibovici, messages to bricklane (parade ground), o njihovoj upotrebnoj vrednosti danas, kada Iako predstavlja uzorak društvene labanotacija se ratovi sve više vode daljinski i automatski, koreografije, upotrebe pokreta koja liči na žanr ☐ franck leibovici, messages to bricklane (parade ground), pomoću bespilotnih letilica, otmica, bombaških ratničkog plesa čija je svrha da povezuje ljude tlocrt samoubilačkih napada, snajpera itd. Leibovici mišićno, društveno i ideološki da bi ih tako 44 TkH 21 Društvena koreografija Bojana Cvejić pripremila za rat, ples vojne obuke u ovom videu Preston-Dunlop, Valerie, „Laban and the Nazis: Towards an je samo parada, autoreferentna propagandna Understanding of Rudolf Laban and the Third Reich“, Dance Theatre Journal br. 6/2, 1988. slika za internu mrežu koja nam malo govori o Provost, Naima, Dance for Export: Cultural Diplomacy and the tome kako, zašto, kada i gde, u kojem smislu Cold War, Wesleyan University Press, Midltaun – University Press i za koga će se ti ratnici boriti. Ona propoveda of New England, Hanover, SAD, 1998. Pritchard, Mark, „My Rise & Fall in Contact Improv“, u Nancy već preobraćenima, kao što je to činio i WAR od Stark Smith i Lisa Nelson (ur.), Contact Improvisation Sourcebook: Yvonne Rainer. Nasuprot Rainerinom radu, gde je Collected Writings and Graphics from Contact Quarterly Dance cilj bio ispitati koreografiju zasnovanu na vojnoj Journal 1975–1992, Contact Editions, Northempton, SAD, 1997. Protevi, John, „Rhythm and Cadence, Frenzy and March: taktici, Leibovici ovde koristi koreografiju da bi Music and the Geo-bio-techno-affective Assemblages of Ancient ispitao jednu situaciju, da bi dokumenta ponovo Warfare“, http://www.protevi.com/john/MusicWar.pdf, 2009 (18. ispisao pojetičkim (poietic) sredstvima. Možda oktobar 2013.) je političko dejstvo Leibovicijevih „poetičkih rainer, Yvonne, Work 1961–73, Press of the Nova Scotia College of Art and Design, Halifaks – New York University Press, dokumenata“ u tome što banalizuju i „dovode Njujork, 1974. kući“ jednu slabu sliku rata, nasuprot strahu koji Stark Smith, Nancy i nelson, Lisa (ur.), Contact prožima prikaze oružja za masovno uništenje i Improvisation Sourcebook: Collected Writings and Graphics from Contact Quarterly Dance Journal 1975–1992, Contact Editions, fanatičnih terorista. Ovaj document poétique je Northempton, SAD, 1997. zbirka koreografskih oruđa koja gledaoca poziva Stengers, Isabelle, „Introductory Notes on an Ecology of da ih sagleda izvođački (performatively) – na Practices“, Cultural Studies Review br. 11/1, 2005, str. 183–196 Toepfer, Karl Eric, Empire of Ecstasy: Nudity and Movement in primer, da pokrete izvodi pomoću priloženih German Body Culture, 1910–1935, University of California Press, rekvizita i vremenskih uputa. I, možda, vlastito Berkli, 1997. izvođačko iskustva usporava razum, koji oblikuje virilio, Paul i lotringer, Sylvère, Pure War, Semiotext(e), Njujork, 1997. mnjenje ili ostrašćenost u vezi sa događajima i učesnicima koji su daleko od gledaoca, a u kojima on ne učestvuje. Ovde, društvena koreografija nije primer estetske ideologije, nego sredstvo koje usporava ideološki sud. ■

navedeni radovi: Charmatz, Boris, „Invitation à Cosmin Costinaş et Bojana Cvejić“, u Fatima Rojas (ur.), Danse-guerre, katalog izložbe, Musée de la dance, Ren, 2013. Cvejić, Bojana i vujanović, Ana, Public Sphere by Performance, b_books, Berlin, 2012. Davies, Sir John, „Orchestra, or a Poem on Dancing“, u Gerald Bullett (ur.), Silver Poets of the Sixteenth Century, Dutton, Njujork, 1972, str. 52 Debord, Guy i Alice Becker-ho, Jeu de la guerre, Champ libre, Pariz, 1977. Džejmson, Fredrik, Političko nesvesno: pripovedanje kao društveno-simbolični čin, Rad, Beograd, 1984. esposito, Roberto, „The Immunization Paradigm“, diacritics br. 36/2, 2006, str. 23–48 Gibson, James, „Theory of Affordances“, u Robert Shaw i John Bransford (ur.), Perceiving, Acting, and Knowing: Toward an Ecological Psychology, Lawrence Erlbaum Associates, Hilsdejl, 1977. hacham, Shir i Ido Feder, „A Dancing Body Offers Legitimacy to the State“, TkH br. 21, 2013, str. 45–50 hewitt, Andrew, Social Choreography: Ideology as Performance in Dance and Everyday Movement, Duke University Press, Daram, SAD, 2005. hyodo, Roger, Adjusting Thought Reflex: Romancing Zen, AuthorHouse, Blumington, 2010. Klastr, Pjer, Arheologija nasilja: rat u primitivnim društvima, Studentski kulturni centar, Novi Sad, 2004. Kew, Carole, „From Weimar Movement Choir to Nazi Community Dance: The Rise and Fall of Rudolf Laban’s Festkultur“, Dance Research: The Journal of the Society for Dance Research br. 17/2, 1999, str. 73–96 leibovici, Franck, messages to bricklane IV, zapis instalacije, 2013. Manning, Susan, „Ideology and Performance between Weimar and the Third Reich: The Case of Totenmal“, Theatre Journal br. 41/2, 1989, str. 211–223 Mcneill, William Hardy, Keeping Together in Time: Dance and Drill in Human History, Harvard University Press, Kejmbridž, SAD, 1995 Paxton, Steve, „In the Midst of Standing Still Something Else Is Occurring and the Name for That Is The Small Dance“, intervju, 2004, http://spa.exeter.ac.uk/drama/research/ exeterdigitalarchives/theatre_papers/paxton.pdf (pristupljeno u februaru 2011, sajt više ne postoji) Plesno telo koje daje legitimitet državi Društvena koreografija TkH 21 45 Plesno telo koje daje legitimitet drzavi

ido FeDer i Shir hAChAM ● ● na raspolaganju bili su (1) biblijsko jevrejsko iskazivanje moći koje je zahvatilo region pod Od samog početka, jedan od ključnih poduhvata carstvo koje je postojalo pre 3000 godina i (2) Britanskim mandatom. Na primer, jevrejsko je cionističkog pokreta bilo je stvaranje novog tela noviji jevrejski identitet, ukorenjen u Dijaspori, vođstvo verno prihvatilo rad Barucha Agadatija, za novog Jevrejina. Da bi se imala zemlja i nacija, izgnanstvu i raseljenim telima. Biblijske priče tada mladog plesnog stvaraoca i vizuelnog mora se polagati pravo i na istinsko (real) telo zbilja jesu često korišćene u umetnosti ali samo umetnika, notornog po purimskim balovima u – nacionalno, etničko, versko i građansko – kao kao podrška navodnom izraelskom legitimnom Tel Avivu, koje je organizovao u sklopu svojih i na fizičko telo kadro da oseti i tumači svoje pravu na zemlju i nisu bile čvrst temelj za novi umetničkih istraživanja. Tako, nešto što je okruženje. Jednom rečju, cionistički pokret za jevrejski identitet. Identitet u izgnanstvu je, 1912. počelo kao Hebrejska bahanalija, 1928. stvaranje jevrejske države-nacije zavisio je od naravno, bio osuđen na brisanje, pošto nije mogao je završilo kao nacionalistička parada pod postvarivanja njenog nacionalnog tela. To željeno da posluži aspiracijama jevrejskog nacionalizma naslovom Deset godina za nacionalni dom.1 telo više ne bi „išlo kao ovca na klanje“, kao što da prikaže sebe kao autonomnog, jakog i Nacionalističko usvajanje plesa je nastavilo da su Jevreji išli pod nacističkim režimom, niti bi se slobodnog, već je bio stalno podsećanje na patnju se razvija, pa danas, 2013, možemo reći da vratilo u „duhovni narod Svetog pisma“ koji je, i nesreću Jevreja. I tako, taj novi narod se morao izraelska država toplo prihvata ples. Izraelsko usled previše učenja, završio zanemarena stasa. sazvati i interpelirati sa ogromne prostorne i ministarstvo kulture u svojim brojnim izdanjima Novi Izraelac, budući Sabra, Jevrejin rođen u vremenske razdaljine, u isti mah se uključujući u doslovno ističe da je Izrael „carstvo plesa“.2 Pa Izraelu, bio bi trnovit kao pustinjski svet (Almog stvaran proces otelovljenja u izgradnji „izraelskog ipak, skorija povest je u više navrata nažalost 2000), obrađivao bi zemlju i bio pionir i ratnik. jevrejstva“. Pomoću raznih tehnika fabulacije, pokazala da je Izrael, osim „carstva plesa“, Tokom godina, izraelska umetnost i razne uključujući i ples, jevrejska nacija je postavljena takođe i jedno uzorno militarističko društvo – što akademske discipline, poput sociologije, istorije kao nova nacija jednog starog naroda, s večnim je za carstva i uobičajeno. Prema tome, bila bi umetnosti, političkih nauka, studija kulture itd. i božanskim legitimitetom koji će sada napokon zabluda čitati izraelski ples odvojeno od njegovog silno su se trudile da opišu novog građanina postati činjenicom u regionu i spram njega. militarističkog okruženja, zato što „plesno telo“ Izraela i stvaranje nove izraelske političke Jedinstveno telo cionizma, ističući ovo i „telo u borbi“ nisu dve zasebne celine, već zajednice (body politic). Ta naučna nastojanja novo nacionalno prisustvo u regionu, moralo jedna te ista, koja se istovremeno bori u ratu za pokušavala su da shvate uopšteni čin izmišljanja je da pristupi drugim izvorima, koji više ne bi legitimitet i pleše za prisustvo i vidljivost. Osim kulture, u kojem je nova nacija morala da bili povezani s Vavilonskim ropstvom. Zato je toga, želimo da pokažemo da obe prakse služe učestvuje. Kao takvo, istraživanje plesa u Izraelu preuzet zapadnjački pozorišni ples i regrutovan istom ontološkom i političkom zadatku bivanja bi moglo da osvetli procese otelovljenja narativne radi promocije novog, čvrstog i stvaralačkog i proizvodnje opravdane i legitimne otelovljene mašine koja je vredno radila kako bi proizvela tela koje je izraelski ples nastojao da razvije. Od nacije u regionu. Drugim rečima, grabljenje zemlje nov izraelski etos. Izraelsko pesništvo je oživelo samog početka, razni plesni stvaraoci koji su se ratom, okupacijom i osvajanjem bilo je i ostalo i iznova osmislilo (reinvented) hebrejski jezik odazvali cionističkom pozivu i doselili u Palestinu stalni zadatak za novog Jevrejina pa prema tome (Harshav 1990); arhitektura je stvorila viziju imali su umetničku i intelektualnu znatiželju i neodvojiv deo nacionalnog samopoimanja, koji zemlje koja svoje geopolitičke potrebe ispunjava u pogledu sposobnosti plesa da stvori „pravo“ je i dalje prisutan u svim njegovim pregnućima. preraspodelom stanovništva i prostora (Segal i ili „istinsko“ telo za buduću državu Izrael. Ovi Ali, izraelska kultura nastavlja da poriče svoj dr. 2003); a ples je istraživao istinsko plesno telo modernistički stvaraoci, uglavnom nadahnuti problem legitimiteta: matični politički diskurs koje bi moglo nešto da otkrije o oblikovanju novog nemačkim ekspresionitičkim plesom, verovali su snažno poriče kolonijalističku tradiciju i istoriju tela za novog Jevrejina. Povrh toga, ta se potraga u moć plesa da otkrije i sačini legitimno i idealno koje su izrodile izraelsku državu i njeno stalno lokalne plesne zajednice nije razvila iz nekog telo koje bi ne samo predstavljalo već i ispoljavalo tlačenje Palestine. Zbog tog poricanja, vladajuće postojećeg izraelskog folklora, kao u evropskim njihov socijalističko-cionistički ideološki san. kulturama, pošto nije bilo folka pa ni folklora koji Prirodno, njihova su istraživanja brzo usvojile 1 Za više informacija o Agadatijevim purimskim balovima i uopšte o ranoj povesti Tel Aviva, vid. Gross 2009. bi u istorijskom smislu bio od koristi u izgradnji nacionalističke snage, voljne da iskoriste ples u 2 http://www.mcs.gov.il/Culture/activities/Dance/Pages/about. nacije. Jedini kulturni, jezički i kontekstualni izvori borbi za vidljivost, legitimitet i javno i društveno aspx (na hebrejskom) (oktobar 2013.) 46 TkH 21 Društvena koreografija Ido Feder i Shir Hacham

snage u Izraelu proizvode i ističu različite i koje žive u Izraelu; osim toga, takva mešavina ☐ Kyr, Ohad Naharin, Batsheva Dance Company, 1991; foto: konkurentske argumente, poput „bezbednosne je odbačena kao ontološki i etnički slabija, Gadi Dagon pretnje“ ili sumnjivog prava na biblijske zemlje, uprkos zvaničnoj vladinoj doktrini asimilovanja U istoriji, estetici i diskursu lokalnog ne bi li poduprle legitimitet Izraela i objasnile svih jevrejskih doseljenika. Nasuprot tome, plesa, legitimitet je pripisivan plesnom telu njegovo delovanje, tj. opravdale okupaciju plesno telo je smatrano sposobnim da naciji insistiranjem na njegovoj originalnosti. Naš stav Zapadne Obale i Gaze koja traje još od 1967. pruži poreklo za sve što je gore navedeno, pošto je da je taj zadatak u nekom smislu obavljen kada Kao takve, ove dve otelovljene prakse – ples i nije prikazivalo ni „lokalnog divljaka“, niti se je 1990. Ohad Naharin preuzeo vođstvo Plesne rat – nisu suprotstavljene, već zapravo uklopive moglo smatrati stranim ni kolonijalističkim. trupe „Batsheva“. Naharinov rad, međunarodno i uporedne u svojim usklađenim naporima. One Prema tome, zapadnjački plesni kanon bio priznanje i umetnički razvoj pod okriljem trupe otkrivaju da su politička i ontološka pitanja sa je plodna građa i tlo za taj postupak, pošto doveo je izraelski ples do uspeha, kako objavljuje kojima se sreće cionistički pokret zapravo jedna je doživljavan kao već globalan, univerzalan i Ministarstvo kulture. Osim toga, Plesna trupa te ista, kao što i igra legitimiteta i prisustva i izražajan jezik, poistovećen s nadmoćnim „Batsheva“ se ispostavila kao najunosnija otkriva čin izmišljanja koji je postao činjenica u Zapadom, navodno nudeći legitiman metajezik kulturna organizacija u Izraelu. Uprkos smešno regionu. Prema tome, za nas su važna sledeća koji bi sasvim odgovarao već započetoj malom državnom budžetu za umetnost (oko pitanja: kako razumeti ples u Izraelu ako nacionalnoj fabulaciji Izraela. Izraelski ples 0,2% ukupnog budžeta) i naročito apsurdno proizlazi iz iste žudnje kao i izraelsko borbeno je iskoristio to svojstvo zapadnjačkog plesa malom udelu plesa u tom skromnom iznosu – telo? Koje diskurse (i zašto) bira izraelsko – univerzalnost – da bi podržao želju za Naharin je u Izraelu oživeo zanimanje za ples, polje plesa, koji doprinose borbi za prisustvo u ratom za originalnost i opstanak u regionu. ostvarivši nezapamćeno povećanje broja publike. regionu? I šta je to u plesu što do te mere može Ako je rat značio stvarnu sposobnost da se U novčanom smislu, Batsheva je najuspešnija da ojača legitimitet izraelskog nacionalnog neprijatelj zbriše, onda je ples tom zadatku trupa u Izraelu, pošto privlači najviše gledalaca i tela da ga država tako zdušno prihvata? doprinosio univerzalnom sintaksom modernog ostvaruje visoke prihode od prodaje ulaznica, kao Kao što smo već pomenuli, ples u Izraelu i klasičnog plesa. U tom smislu, rat je bio i privatnih donacija, državne pomoći za izvedbe u nije izrastao ni iz kakve postojeće lokalne nesvesno izraelskog plesača, pošto je ta borba Izraelu i inostranstvu itd.5 Osim toga, čini se kao tradicije. Naravno, bilo je raznih pokušaja da se za osećajnost plesnog tela bila usklađena da se pobednički etos plesa u Izraelu u punoj meri iskoriste lokalni arapski i levantski uticaji, ali s borbom za ostvarenje sveopšteg poziva pojavio tek u Naharinovom projektu. Zamisao je je njih na kraju odbacio evropski projekt koji je cionizma. Danas, baš kao što izraelska država bila i ostala da je izraelsko plesno telo entitet koji činio ideološku i kulturnu osnovu cionizma.3 Ti nastavlja da ulaže napore i sredstva u vraćanje nadilazi i sadašnjost i prošlost; drugim rečima, su pokušaji žigosani kao „folklor“ i kao takvi Jevreja „kući“ (što se zove Aliya, a bukvalno to je jedno univerzalno telo koje ne zavisi od izbačeni iz visoke umetnosti izraelskog plesa. znači „uspon“), istaknute izraelske plesne lokalnog istorijskog položaja Izraela, već kanališe Drugim rečima, oni su zadržavali nešto „lokalno“ skupine, poput Vertiga i Kibbutza, takođe daju činjeničnost bivanja telom pre svega drugog. ili neke odlike hibridnog identiteta Izraela i zato svoj doprinos nuđenjem stipendija jevrejskim Drugim rečima, ples je poslužio kao sredstvo se ne smatraju pravim umetničkim kreacijama plesačima širom sveta za pohađanje njihovih usađivanja originalnosti u nacionalno telo. I koje bi mogle postaviti neko novo telo. „Istinsko“ obrazovanih programa.4 Kao što vidimo, plesno zaista, povest plesa u Izraelu nam pokazuje da izraelsko plesno telo ne sme biti samo melting telo isporučuje legitiman položaj nacionalnom se on uvek iznova vraćao potrazi za originalnim pot identitetâ i znakova raznih etničkih skupina telu u njegovoj borbi za stvarno postojanje i moralni, društveni i povesni opstanak. 5 Po podacima izraelskog instututa za istraživanja u kulturi 3 Izrael i cionistički pokret imaju bogatu povest orijentalizma, „Pilat“. Njihovi izveštaji, koje naručuje Ministarstvo kulture, pošto čak i u okviru jevrejskog stanovništva postoji jaka etnička 4 Vid. http://www.masaisrael.org/programs/vertigo–dance– sadrže podatke za čitavo polje kulture u Izraelu. Podaci o plesu hijerarhija Jevreja evropskog i vanevropskog porekla. Za više company i http://www.masaisrael.org/programs/dance–journey u 2011. dostupni su na http://www.pilat.co.il/download/tarbut/ informacija, vid. Khazzoom 2003. – pristupljeno (oktobar 2013.) mahol2011.pdf (na hebrejskom). (oktobar 2013.) Plesno telo koje daje legitimitet državi Društvena koreografija TkH 21 47

„izraelskim plesačem“, a ne bilo kakvim okupaciji koja je bila počela još 1967. Naharinova plesačem u Izraelu. Zadatak je bio dokazati generacija je takođe pokrenula i razne cionističke ontološki legitimitet svojstva „izraelski“ levičarske pokrete, kao što je Mir sada, koji pomoću posebnog načina shvatanja pokreta, spajaju uopštenu veru u pravo Izraela da postoji koji je nudio ples. Kao takvo, plesno telo je sa samokritikom i ambicijom da čitav region sistematski brisalo hibridnu mešavinu identitetâ, povede ka stabilnosti i miru. Ipak, više autora je znakova i uslova koje je moralo da podnese. To pokazalo da su ovo traumatično i lično iskustvo je konačno završeno potpunim činom stvaranja rata normalizovali upravo ti isti subjekti, kao – izmišljanja i prečišćavanja – novog plesnog potčinjeni činioci društva (npr. Lomsky i Feder tela, jedinstveno prepoznatljivog kao „izraelsko“ 2004), što znači da ideološke neophodnosti i u Izraelu i van njega i jedinstveno označenog države opstaju i obično odnose prevagu. sa made in Israel. Sistematska genealogija Naharinov koreografski čin je duboko ukorenjen ☐ Tabula Rasa, Batsheva Dance Company, 1993/1994; foto: tog postupka prevazišla bi okvire ovog teksta. u njegovoj „generacijskoj priči“, pošto njegov Gadi Dagon Umesto toga, samo ćemo je naznačiti a zatim rad poseduje sličnu sposobnost da kritikuje Kyliána, pokazao je da njegova tela lako prelaze se usredsrediti na Naharinove novije radove, beskrajne varijacije ratobornih tela oko njega, i tumače to postojeće znanje, ali pre svega, ona koji sadrže zaštitne znake te marke. slaveći individualno telo. Ali u isti mah, kritičan simuliraju prisustvo porekla tog znanja. Zato Kada se Naharin pridružio Plesnoj trupi čin pojedinca na kraju neutrališe sam sebe, je pod Naharinom Plesna trupa „Batsheva“, čiji „Batsheva“, ona je već bila najistaknutiji akter delimično i stoga što je „rat nesvesno plesa“ i što su plesači bili poznati po svom „uglađenom na plesnoj sceni u Izraelu. U to vreme, Batsheva taj čin na kraju normalizuje telo, u ovom slučaju izraelskom“ stilu izvedbe tehničkih visina je bila repertoarska trupa i nisu je predvodile „originalno telo“ za kojim država toliko žudi. neoklasicizma, u početku nastavila da izvodi svoj nikakve ključne koreografske ličnosti. Osim toga, Kada se Naharin pridružio Batshevi, nije međunarodni repertoar. Ali, Naharin je iskoristio to je bilo u skladu sa zamišlju njene britanske bio zadovoljan markom „izraelskog plesača“, jezik plesa da bi pokazao svoju sposobnost osnivačice, Baronice Batsheve de Rothschild, sposobnog da izvede ono najbolje iz zapadnjačke da ga nadraste i postavi izraelsko plesno telo za koju je „zamisao bila početi s plesačima, ne neoklasične tradicije. Želeo je da se bavi kao praiskonsku činjenicu, kadru da odbaci s koreografima“ (Gluk 2006). Kao što smo već originalnim radom i zato je obučio „izraelskog militarizam, dok tumači savremeni jezik plesa. pomenuli, zadatak je bio pronaći i označiti novog plesača“ da bude sklon autorefleksiji i da Ti se postupci na metodičniji i razrađeniji način izraelskog plesača, da bi se postavili i svetu pravi originalne koreografije a ne samo da ih pojavljuju u njegovim kasnijim koreografskim pokazali sposobnost i prisustvo novog izraelskog izvodi, ali da bi to postigao, morao je da svuče radovima, kao i u Gagi, njegovoj tehnici i tela. Ali Naharin je na prvom mestu koreograf, nacionalističke uniforme s telâ plesačâ. U jeziku plesa. Po našem mišljenju, njegov pa je njegov doprinos istoriji plesa u Izraelu jednom od njegovih zapaženih ranih radova, Kyr rad je kontinuiran proces desubjektivacije „tradiciju plesača“ odveo korak dalje, mada je (1990), u jednom delu velika grupa plesača sedi u i designifikacije, što je kulminiralo u Gagi. nastao kao neposredna posledica upravo te polukrugu i peva najpoznatiju pashalnu pesmu,7 Naharinov skup koordinata pokreta služi kao tradicije. Naharin je postao referentna tačka za skidajući svoje vojne uniforme. Na taj način, sredstvo za postavljanje i „istine“ plesa i kraja neku vrstu dovršenja, nacionalnog i umetničkog Naharin je nesvesno plesa – rat – učinio svesnim, rata, postavljajući „rat“ ne kao agresivnu telesnu uspeha izraelskog plesa, jer je pronašao način iznevši potrebu čišćenja tela od militarizma. Još borbu na život i smrt koja zahteva uništenje da usadi željenu originalnost u plesno telo, jedan čuven Naharinov rad je Tabula Rasa, koju je neprijatelja, već kao večito stanje strastvenog ali je to učinio crpeći univerzalne vrednosti The New York Times opisao ovako: „‘Tabula Rasa’ etosa pokreta, usmereno ka stanju objavljenog zapadnjačkog pozorišnog plesa, upotrebljenog isijava jedno opšte osećanje gubitka“ (Kisselgoff originalnog prisustva i jedne beskrajne ekonomije za beg od svakodnevnih teškoća života u nečemu 1987), što možda otkriva Naharinovu veru i zadovoljstva. Ovaj se proces može nazvati što je vrlo brzo postalo režim sa „dva lica“: potrebu za uspostavljanjem tela očišćenog od demilitarizacijom jevrejskog ratobornog tela, zato demokratijom i okupacijom između Sredozemnog svih znakova. Pa ipak, Naharinovi poduhvati nisu što potiskuje izraelska vojna označavanja (koja mora i reke Jordan (Azoulay i Ophir 2008). bili tako hotimični kako se možda čine i izgleda Naharin doživljava kao „gruba“ ili „prosta“),8 Paradoksalno, Naharin je i sam istaknut kao da demilitarizacija proglašena u njegovim ali zapravo, njegova ne-istoričnost poručuje protivnik izraelskog režima. Na primer, kada je radovima zapravo nastavlja umešanost plesa kao da je rat već dobijen i da je izraelsko telo živo, dobio Nagradu Izraela, najviše priznanje koje discipline u fabulaciju nacionalnog tela. Tabula dobro i na čelu – kao nova istaknuta činjenica se dodeljuje građanima Izraela, požurio je da Rasa, što znači „neispisana ploča“ kao brisani u regionu. Njegove kritike i demilitarizacija su iskritikuje izraelsku okupaciju u intervjuu za prostor ili “bela stranica”, naslov koji otkriva značajne i otkrivaju mnoge buduće poduhvate, jedne kanadske novine.6 Iz šireg sociološkog stvaranje željenog plesnog tela, usavršavanjem ali takođe i artikulišu sposobnost plesa da ponudi ugla, treba pomenuti i da je Naharin Sabra, rođen sposobnosti plesa da izbriše određene odlike svom telu i naciji legitimitet bivanja činjenicom 50ih godina, i pripada naraštaju koji je podignut tela, ne bi li se pojavilo neko drugo, „istinskije“ u svetu. Ples nudi nešto mnogo korisnije od da bi ostvario snove svojih roditelja doseljenika. i univerzalno telo. Usled toga, to stalno brisanje cionističke melting pot doktrine, zato što Zapravo, Naharin i njegovi ispisnici jesu ona tela državi pruža telo očišćeno od svake moralne plesno telo nekako zadržava istinu – pošto je koja je cionizam nastojao da proizvede. Sam i političke odgovornosti, kao i od trenutnih činjenica – novog tela i tako jamči da to novo Naharin je jedna uspešna priča: mlad, privlačan teškoća. Drugim rečima, Naharinov rad je ovladao telo nije hibridno, usađujući mu originalnost. heteroseksualac, vojnik pa plesač, drugim rečima, opsednutošću stvarnim i sposobnošću plesa Na svojoj internet stranici, Gaga je određena subjekt koji je dostigao ideale i borbe i plesa u da je izvede. Njegov rad, u velikoj meri oslonjen ovako: „Jezik Gage potiče od vere u lekovitu, jednom te istom telu. Ali, njegov naraštaj je bio na njegova iskustva američkog modernističkog dinamičnu, uvek promenljivu moć pokreta“.9 i prvi koji je kritikovao izraelski režim, naročito i evropskog neoklasičnog plesa, na primer u Gaga se predstavlja kao nov i savremen jezik posle rata 1973. i usled rastuće svesti o izraelskoj radovima Marthe Graham, Mauricea Béjarta i Jiříja pokreta koji, po Naharinu, treba da stoji sam za

7 Omiljeni jevrejski verski praznik, dobro uklopljen u državnu 8 http://e.walla.co.il/?w=/274/1775822 (na hebrejskom) 6 http://www.kibush.co.il/show_file.asp?num=3808 (oktobar mitologiju, pošto obeležava Izlazak, prelaz drevnog jevrejskog (oktobar 2013.) 2013.) naroda iz ropstva u Egiptu u slobodu u Hanaanu. 9 https://www.facebook.com/gagapeoplecom (oktobar 2013.) 48 TkH 21 Društvena koreografija Ido Feder i Shir Hacham

☐ Hora, Batsheva Dance Company; 2010, foto: Gadi Dagon vas ostavlja da se pitate da li je njeno navodno onoga što ples „kao takav“ navodno jeste. otkriće originalnog plesnog tela zapravo samo još Uopšte, na času Gage se od tela ne traži da sebe, odnosno, odvojeno od njegovog autorstva, jedna romantična tvrdnja zapadnjačkog plesa. zauzima bilo kakve posebne položaje, već se zbog čega ga je i nazvao „Gaga“, a ne, na primer, Nešto u tom smislu je nagovestio sam koriste metafore, poput „zamisli da ti je kičma „Naharin“. Navodno, „Gaga“ ne znači ništa, to Naharin na konferenciji za novinare prilikom zmija“ ili „kupaj se u medu“ (neke od omiljenih je besmislica, pa ipak, njena blagozvučnost premijere jednog od svojih novijih radova, metafora s časova Gage). Zadata slika vodi telo podseća na novorođenčad, koja su jedino u koji je nazvao Hora (2009.) po istoimenom sve dok ono ne dostigne odgovarajuće ispoljenje stanju da govore, odnosno mrmljaju: „ga ga...“. U izraelskom nacionalnom folklornom plesu. slike. Gaga obitava u regionu povišenih frekvenci jednoj čuvenoj zgodi od pre deset godina, kada je Tom prilikom je rekao: „Hora otkriva nekoliko zadovoljstva i truda: od viška čulnog zadovoljstva Batsheva izvodila jedan rad Matsa Eka, Naharin referentnih tačaka... ritam i unutrašnja logika do prekida i blagosti ruke koja ljuljuška kolevku. je objavio da će od tada plesači „Batsheve“ rada nas pozivaju da ih posmatramo kao sled Sve se prihvata ako se poštuje uputstvo: „Uživaj!“. koristiti jedino Gagu za svakodnevne vežbe, vrhunaca bez padova između njih“.10 Naravno, Zato bezobličnost Gage stvara tip izraza koji nosi umesto klasične baletske obuke, u pripremi tela „sled vrhunaca bez padova između njih“ ne protivrečnosti tako što ih razgraničava, pošto telo za rad. Kao diplomatski ustupak Eku, dozvolio je može postojati, zato što nema vrhunaca bez uopšte nije u obavezi da ima ikakvog smisla, već svojim plesačima jedan čas baleta nedeljno, ali padova i obratno. Stoga Naharinova izjava samo slavi navodno prvenstvo osećaja. Kao takvo, sada, Gaga je jedina praksa vežbanja u Plesnoj označava privid koji telo koje on proizvodi treba ono se pravi kao da je ravnodušno prema bilo trupi Batsheva. Vremenom, Gaga je postala da stvori, a to je zapravo izraelski nacionalni kakvim znacima koje možda nosi ili, da kažemo dovoljno artikulisana da bi se mogla obraćati folklorni ples. On pokazuje odbijanje bilo kakvih to još jače, znaci se doživljaju kao mrlje koje i široj javnosti i danas časove Gage pohađaju „padova“, uključujući i ekonomije nanošenja bola, mute vidljivost tela i čine ga nejasnim. Gagino i plesači i neplesači u Tel Avivu i širom sveta. nezadovoljstva i unakazivanja tela, a sve što stalno odricanje od bilo kakvog označavanja, Širenje ovog znanja liči na franšizu, pošto ga zanima je objava euforije vlastitog uspeha. koje je prvobitno pokrenuto da bi se izborilo sa samo Naharin može da odobri nove učitelje. Povrh toga, Naharinova izjava je savršen opis onim što Naharin naziva „prostim“, obezbeđuje Časovi Gage obično traju jedan sat, tokom kojeg jezika Gage i toga što nudi svojim polaznicima: odsustvo bilo kakvih znakova, a naročito su učesnici nasumično razbacani u prostoru; oni „sled vrhunaca bez padova između njih“. Na vojnih ili kakvih drugih etički sumnjivih ili ličnih ni u jednom trenutku ne prestaju da se kreću, času Gage, od učesnikâ se ne traži da svojim znakova koji bi mogli da posvedoče o neuspehu izvodeći pokrete po širokom opsegu uputstava. telima tvore bilo kakve oblike, niti postoji bilo ili pogrešnom ulaganju energije telesne mašine. Začudo, Gaga se zasniva na uputstvima koja kakav poredak po kojem bi neki pokreti bili Zato Gaga prihvata New Age filozofiju života, prizivaju slike o bavljenju ekonomijom tela, povlašćeni u odnosu na druge. Pa ipak, gledajući neku vrstu ilogičnog naturalizma, koja se prodaje ulaganjem energije, simulacijom tekstura i ili učestvujući u času Gage, lako prepoznajemo profesionalnim plesnim trupama po svetu kao stanja materije, a ne estetskim formama niti četvrte pozicije, arabeske i slično, kao i da, jedan „zabavniji“ jutarnji čas ili kao način da što slikovitošću (ogledala, na primer, nisu dozvoljena kada učitelj kaže: „Lana“, to znači „u centar“ više ljudi pristupi potencijalu „osvajanja“ života na časovima Gage niti u „Batshevinim“ plesnim (što je deo Naharinovog sveukupnog nastojanja uživanjem u telu u pokretu, umesto uključivanja studijima). Ali zapravo, kada pogledamo jednog da smisli nove plesne izraze umesto starih, tela u kritičko mišljenje. Po našem mišljenju, prosečnog plesača Batsheve obučenog Gaga odomaćenih). Po vlastitom tvrđenju, Gaga se ova marka „izraelskog načina kretanja“ je još metodom, lako prepoznajemo pojedine figure. sastoji ne od sistema pozicija, kao balet, već jedna sublimacija ratnog nesvesnog, jer se bavi Na primer, evo nekih prepoznatljivih odlika: od nehijerarhijskog sleda pokreta, vrhunaca i nesvesnim poricanjem rata, umesto da promišlja ruke uvek lebde i nikada ne padaju; telo nikada originalnih libidinalnih impulsa. Prema tome, ili pleše legitimitet ili odsustvo legimiteta rata. ne dodiruje drugo prodiranjem; gotovo nikada osnovno načelo Gage je bezobličnost. Ili, možda Ipak, nije Naharin jedini: početkom veka, kada nema spuštanja na pod. Uzrok ove uopštene to jednostavno nije jezik, već narečje ili izgovor je počeo da koristi termin „Gaga“, bilo je i vreme sličnosti je jedno veoma važno ontološko propasti ideološke metastrukture cionističke svojstvo Gage – njen stalni poziv na ulazak u 10 http://www.mouse.co.il/CM.articles_item,698,209,34860,. levice, u kojoj je ona opstajala skoro 40 godina, potencijalno stanje samoosećaja. Tako, Gaga aspx (na hebrejskom) (oktobar 2013.) posle talasa beznadežnosti koji je preplavio naciju Plesno telo koje daje legitimitet državi Društvena koreografija TkH 21 49 po ubistvu premijera Jicaka Rabina i navodnog bilo kakvog razmišljanja Gagi ili objašnjavanja kao prekinuto sopstvo. Naharinova nemogućnost neuspeha Sporazuma iz Osla. Njena osnovna njenog izgleda smatrao bi se budalastim, da podnese jednu problematičnu stvarnost načela (vera u pravo jevrejske države da postoji naivnim ili jeretičkim. Ovo urođeno rastapanje nagnala ga je da stvori telo podložno slavljenju ali i u njenu sposobnost za samokritiku) nije smisla i odbijanje istoričnosti su najvažnije svoje pobede ćutanja, dok on osmišljava mogla da izdrži njen spektakularni neuspeh u odlike Gage, pošto oblikuju njeno podrivanje prijatne plesove koji poriču svet oko sebe. Ta vidu Druge palestinske intifade (palestinske plesne tradicije, hraneći se činjeničnošću tela. verzija tela se onda lako može priložiti raznim reči za „otpor“ ili „ustanak“), u kojoj je bilo Zato je Gaga vesnik novog kapitalističkog New retorikama i propagandama, beskrajnoj kulturnoj nezapamćenog nasilja sa obe strane. U to vreme Agea, ali u sasvim bukvalnom smislu: jednog hermeneutici i, konačno, nalepnici „izraelski je skovana fraza „nema partnera za pregovore“ za uvek „novog“ doba tela koje ne poriče ni ples“. Ipak, unutar Naharinovog izuma, tog Jasera Arafata i Palestinsku narodnu samoupravu. prošlost ni budućnost, već njima jednostavno navodnog režima samoosećaja, i dalje kuca Osim toga, od početka 90ih godina, izraelsko nije ni određeno ni ograničeno i umesto toga etički impuls: on teži stanju čiste potencijalnosti društvo je pretrpelo ubrzan proces privatizacije učestvuje samo u nekoj vrsti večne sadašnjosti, da se bude bilo šta („ti si tigar“), što Naharin i individualizacije, i neoliberalni kapitalizam je u uprisutnjenom-sadašnjenju (presencing). doživljava kao potpuno osamostaljenje od već cvetao u nekada jedinstvenoj socijalistički Ipak, Naharin je od skora uronio u konkretnije zakona discipline i tehnike plesa i, konačno, orijentisanoj zemlji. U takvoj kulturnoj i New Age odrednice, nazivajući osnovne vrednosti poistovećuje kretanje s življenjem. Zato je društvenoj klimi, Naharinov rad se sve više Gage „univerzalnom etikom“ – čistom, „zelenom“, Gaga primer vitalističke etike i način života, okretao sebi, sve više zatvarao u sebe, počivajući dostupnom. Te vrednosti su plod njegove želje ali koji je izgubio svoje povesne koordinate, na telu koje više jednostavno nije moglo da da se odvoji od jezikâ pokreta iz 20. veka i, na dok ga spoljašnjost duboko ne zanima. podnese svoje protivrečno postojanje. Ali umesto neki način, „reši“ njihove probleme. Bezobličnost Prema tome, Gaga je i dalje tesno povezana da se uključi u otpor i kritiku, to telo je radije unutar oblikâ je zadužena da se suprotstavi s poimanjem izraelskog tela kao moralno bežalo i poricalo vlastito postojanje. Čini se kao bezobzirnoj disciplini „pravilno oblikovanih“ opravdanog i slobodnog i u tom smislu je poput da je Naharinov projekt bio smišljen jednostavno tela (bodies “in shape”). Mašta („zamisli da ti je nekakve eksteritorijalne utopije koja je izgubila da izađe iz društva u kojem je nastao, kao da bi kičma zmija“) treba da se bori s mehanističkom svoju potrebu za smislom i dodirom s povešću, nekako mogao bojkotovati kulturu tako što će je perspektivom plesne tehnike i tako dalje. Pa slično današnjoj postcionističkoj levici, u sklopu osuđivati kao „prostu“. Pod Naharinom, Plesna ipak, Gaga nastaje samo u tankom kontekstu opšte krize levice. To „bebeće“ telo koje Gaga trupa „Batsheva“ se pretvorila u malu enklavu svog samoosećaja, koji nastoji da bude platforma odgaja ostaje verno službi svih svetovnih snaga postavljenu da bi „grubost“ spoljnog sveta držala za poreklo sve refleksivnosti, ali je zapravo oko njega, koje ga usvajaju da bi se rasteretile na odstojanju, a završila je držeći na odstojanju zaključan u jednom predrefleksivnom vidu kritičke misli i na kraju Izrael proglasile grubost njegovih tela u patnji, snova, nadâ i mislî postojanja. Možda nije slučajno što je Batsheva, „carstvom plesa“. Mi, međutim, Gagu vidimo kao o promenama i otporu, i usvojila individualističke čim je Naharin dovršio oblikovanje Gage, gotovo (zlatan) kavez originalne činjeničnosti, što joj je i New Age diskurse koji su ta tela ugušili još više. prestala da izvodi radove drugih koreografa dozvolilo luksuz samoproglašenja univerzalnom Postoji još jedno mesto otelovljenog delovanja i usredsredila se skoro isključivo na radove istinom. Gagin eskapistički put potvrđuje da gde najveće moguće prisustvo tela ostaje blizu Naharina i njegove štićenice Sharon Eyal.12 je rat nesvesno izraelskog plesa, dok se Gaga osećajnosti zadovoljstva, a to je seks. Zato ne Drugim rečima, Gaga telo odbija da prizna pridržava i potvrđuje državnu politiku Izraela. ■ čudi to što Naharin od svojih plesača traži da drugog, pošto nudi individualizujući događaj pre se povežu sa svojom seksualnom energijom, susretanja s drugim događajima. Kao takvo, Gaga navedeni radovi: da „aktiviraju“ taj izvor kada plešu. Crpljenje telo je znak bivanja činjenicom, originalno znanje Azoulay, Ariella i Ophir, Adi, The One-state Condition: Occupation and Democracy in Israel/Palestine, Stanford University pokreta iz takvih neograničenih i nagonskih sačinjeno u Izraelu, ali u isti mah, ono je i činjenica Press, Stenford, 2012. sila omogućava mu da stvori vrstu plesanja koja se zatvara u sebe. Ne kažemo da se Naharin Badiou, Alain, Being and Event, Continuum, London, 2005. slobodnu od ograničenjâ vremena i prostora, u svom radu ne dotiče društvene stvarnosti, Gluck, Rina, Plesna trupa Batsheva, 1964.–1980: Jedna lična priča, Carmel, Tel Aviv, 2006. kao što je slobodna i od rodnih posebnosti i već da ispraznost njegovih tela, koncepta Gage, Gross, Yaacov (rež.), Legend in the Dunes, film, The Spielberg političkih dogmi, vezana samo za libido kao postaje plodno tle za razgraničavanje smisla i Archive, Jerusalim, 2009. „životnu činjenicu“ i autoritet koji omogućava da brisanje drugih, za čim izraelska država toliko harshav, Benjamin, Language in Time of Revolution, razmnožavanje i zadovoljstvo obitavaju u jednom žudi. U zaoštrenoj političkoj situaciji Izraela i University of California Press, Berkli – Los Anđeles, 1993. Khazzoom, Aziza, „The Great Chain of Orientalism: Jewish te istom gestu. To je ples koji ne nastanjuje s velikom željom ne samo da kritikuje državnu Identity, Stigma Management, and Ethnic Exclusion in Israel“, samo „jedna misao“, jer on nastoji da iskoristi politiku, već i da propleše kroz demilitarizaciju American Sociological Review br. 68/4, 2003, str. 481–510 potencijal svake misli, svakog vremena i svakog i prikazivanje oslobođenih tela, Naharin Kisselgoff, Anna, „Dance: Ohad Naharin and Company“, The New York Times, 11. januar 1987, http://www.nytimes. prostora, kako se pojavljuju kroz puku činjenicu se otisnuo na putovanje kroz neprestanu com/1987/01/11/arts/dance-ohad-naharin-and-company.html da imaju čulno a ipak uopšteno seksualno telo. transcendenciju bez premca: najpre iz grubog (24. oktobar 2013.) Konačno, Gaga je stvorila telo koje nosi donekle fizičkog postojanja jevrejskog ratobornog tela, a lomsky-Feder, Edna, „Life Stories, War and Veterans: On the Social Distribution of Memories“, Ethos br. 32/1, 2004, str. 1–28 sterilnu univerzalnost, pošto ne pokazuje nikakvu zatim iz povesne uslovljenosti svake izvedbe. Oz, Almog, The Sabra: The Creation of the New Jew, University of sklonost ni predanost bilo kojem posebnom Na kraju, ta je mašina ipak opterećena California Press, Berkli, 2000. događaju, istorijskom ili aktuelnom. Ukratko, zatvaranjem vlastite autoreferentnosti. Njena Segal, Rafi iWeizman, Eyal (ur.), A Civilian Occupation: The Politics of Israeli Architecture, Verso, London, 2003. nastoji da uhvati „događajnost“, biće-u-događaju, beskrajna samoafektirajuća prezenca potvrđuje koje nema nikakvu odrednicu i čak poriče bilo telo kao činjenicu a ne kao biće-u-svetu; kao kakvu potrebu za njom.11 Pokušaj nametanja podstrukturu koja podržava autonomiju, ali ne

11 Ovde mislimo pomoću pojma događaja Alaina Badioua – 12 Sharon Eyal je godinama bila Naharinova „muza“, pošto istorijskog sleda koji iznosi neku sveopštu istinu i iznova određuje je plesala u trupi od početka. Kasnije je postala njena matična strukturu bića kao bića. Vid. Badiou 2005. Nasuprot tom poimanju, koreografkinja. Nedavno je ostvarila uspeh na međunarodnoj sceni mi Gagu vidimo ne kao događaj, nego samo kao „događajnu“, zato i, zapaženo, napustila Plesnu trupu „Batsheva“, osnivajući svoju, što ona samo simulira da je u stalnom „događaju“; kao takva, ona L-E-V. Međutim, i dalje ističe vezu sa Gaga praksom, npr. http:// zapravo ne dozvoljava pravom događaju da se pojavi. www.youtube.com/watch?v=2rsebh20mdk (oktobar 2013). 50 TkH 21 Društvena koreografija Igor Koruga Koreografija kao analitičko sredstvo za tumačenje društva u kontekstu pozorišta

igor KOrUGA ● ● Možda najaktuelniji struktura, načelâ i ulogâ u našim svakodnevnim ljudskoj interakciji unutar javne sfere današnjeg – mada ne tako svež – problem u savremenom životima? Ako se koreografija menja iz (neoliberalnog i kapitalističkog) društva. plesu jeste pojam proširene koreografije. Do temelja tako što prevazilazi svoju umetničku sada je već izneto mnogo predloga u vezi s tim performativnost i prelazi u polje društvene KoMuniKaCija u izvođačkim pitanjem.1 U sve više polja, reč „koreografija“ performativnosti (kao u slučaju društvene umetnostima ● Komunikacija između počinje da služi kao tehnički termin (npr. koreografije, na primer), šta to otkriva ili govori publike i umetnika u izvođačkim umetnostima u biologiji, diplomatiji, politici, sociologiji, o nama – izvođačima i nosiocima tih izvedbi? I je ključan i nezaobilazan predmet mnogih antropologiji itd). Zajedničko svim tim pristupima kako nam to omogućava da menjamo javnu sferu umetničkih koncepata, naročito od 60ih godina, jeste sagledavanje koreografije kroz druge načine ili intervenišemo u njoj? Da bih se pozabavio avangardi i neoavangardi.2 Kako primećuje uređivanja vremena i prostora, promišljanje takvim viđenjem koreografije, u ovom radu ću se 2 Što se pojavilo usled nastanka raznih poststrukturalističkih raznih praksi, okvira i pojmova koreografijom i usredsrediti na komunikaciju u kontekstu autor- teorizacija koje su, prema Ani Vujanović, dovele u pitanje viđenje koreografije kao uopštenog skupa oruđa u delo-gledalac u okviru dispozitiva pozorišta. strukturisanje komunikacije u izvedbi s publikom po analizi. Osim toga, ti pristupi postavljaju pitanje: Pozorište smatram javnim prostorom – okvirom konvencionalnoj shemi komunikacije: pošiljalac – poruka (sa informacijom) poslata kroz komunikacijske kanale – primalac „Šta može koreografija da uradi?“, ali time ne za građansko delovanje u vezi s pitanjima javnog ili, u izvedbi: autor – poruka poslata kroz dramsku predstavu / umanjuju značaj pitanja “šta je koreografija?”. prostora (npr. obraćanje u javnosti, rad, politika, izvedbu – publika (Vujanović 2010, 2). Vujanović taj preobražaj Stoga mi možemo pitati: a šta je s koreografijom i društvena saradnja, društvena komunikacija objašnjava ovako. Ukratko, pojam komunikacije kao jednostavne razmene (uključujući radove umetnika iz istorijskih avangardi: društvom? Kako upotrebiti koreografiju u analizi itd). U tom okviru želim da razmotrim viđenje Antonina Artauda, futurista, dadaista i dr. i neoavangardi od 60ih izvedbe u današnjem društvu – u njegovim koreografije kao prakse koja bi mogla da godina: Fluxusa, situacionista, Living Theatera, Augusta Boala, strukturama, načelima kojima se uređuje, područja izvedbe i gledalaštva (spectatorship), Yoko Ono, Petera Handkea itd), u vezi s pojmom otvorenog dela Umberta Eca, preobrazio je predstavljačku strukturu izvedbe u ulogama u komunikaciji i našem izvođenju tih koja su trenutno artikulisana i prepoznatljiva u participativni i provokativni događaj sada-i-ovde sa publikom koja okviru pozorišnog aparata, proširi u društvene zahteva odgovore. Zatim, pojam ne-komunikacije je uobličen u postmodernizmu (od 70ih do 90ih godina, u radovima Roberta 1 Od zamisli razdvajanja koreografije od plesa (Mårten poretke performativnosti. Takvo širenje bi Wilsona, Jana Fabrea, Richarda Foremana, Petera Greenwaya i Spångberg), preko teze o iscrpljenju veze plesa s pokretom i koreografiju učinilo analitičkim oruđem za socio- Anne Terese de Keersmaeker), raznim izvođačkim praksama koje usredsređivanju umesto nje na neprekinuti kinetički tok kao antropološko, političko i umetničko tumačenje su ponudile nove poglede na otvoreno značenje, postavljajući suštinu plesa (André Lepecki), do stava da se prelaz iz otelovljenja iza izvedbe ne nekakvog tvorca, već „autora ravnodušnog prema u proceduralizam dešava usled prekida veze između tela i pokreta i intervenisanje spram načelâ društvene komuniciranju: izvedba je otvorena za mnoštvo slobodnih i (Bojana Cvejić). komunikacije, delovanja, vrednostî i verovanjâ, u nasumičnih ‘čitanja’ od strane publike“ (Cvejić i Vujanović 2006, 9). Koreografija kao analitičko sredstvo za... Društvena koreografija TkH 21 51

Ana Vujanović, nova stremljenja u izvođačkim Le Roya (Project, low_pieces, Retrospective), Ciupke i Igor Dobričić), 9x9 (Christine De Smedt umetnostima ukazala su na insistiranje ranijih Eszter Salamon (Giszelle, nvsbl), Christine De i još osam koreografa), EIO & EIOnometry participativnih i interaktivnih oblika pozorišta Smedt (9x9),5 Tina Sehgala (This Variation) itd. (Dragana Bulut, Eduard Gabia i Maria Baroncea) i izvedbe na komunikaciji, koje je počivalo Mada različiti u smislu oblika, sadržaja, kao itd. Zajednička osnova ovih različitih projekata na dvema pretpostavkama.3 Prva se odnosi i institucionalnog konteksta predstavljanja jeste njihovo preuređivanje „zajednice“ na zamisao aktiviranja gledaoca kroz razne (pozorište naspram muzeja), svi ovi radovi umetnika i gledaoca pomoću koreografskih oblike interakcije i učešća u izvedbi koja bi ispoljavaju koreografsko shvatanje novih zamisli zasnovanih na različitim poimanjima mogla da prenese neku poruku ili sadržaj. vizija gledalaštva. Proizavši iz tradicije „praksi zajednice, uključujući nestrukturisane, hibridne, Takvu pretpostavku, objašnjava Vujanović, mišljenja“, koje su se pojavile 90ih godina, nastajuće i proto-zajednice. Svi ti pojmovi, teško je ostvariti zbog jaza koji razdvaja ovakve koreografske zamisli autoreferentno pozajmljeni iz socijalne antropologije, filozofije izvedbu od publike, koja je ujedno i “relativno problematizuju ples/koreografiju,6 otvarajući i studija izvedbe, stoje iza termina communitas apstraktna bezimena masa koja treba da umetničko delo mnoštvu čitanja, umesto da – latinskog korena engleske reči community. deluje sa zajedničke komunikacijske osnove i ga vezuju samo za čitanje jednog subjekta/ To je i dalje kontroverzan terijski pojam, mnogobrojni zasebni prostori gledalaca koji bi autora. Što je još važnije, ove prakse pitaju ko određen parametrima društvene interakcije bili ograničeni samo kada bi autor bio upoznat su gledaoci s kojima umetnici komuniciraju u koji se zasnivaju ili na istovetnosti/zajedništvu sa svima njima i njihovom stvarnom strukturom, izvedbi, nagoveštavajući da bi cilj umetnika, ili na drugosti.7 Međutim, upravo nam ta što je gotovo nemoguće”. (Vujanović 2010, 3) prema Vujanović, trebalo da bude da stvori protivrečnost dozvoljava da koristimo ovaj Druga pretpostavka se odnosi na težnje da „komunikacijsku zajednicu“ s gledaocem dok pojam kao metodološki termin za ispitivanje, se gledalac „aktivira“ i „osvesti“ svoje uloge u traje izvedba, kao „održivu osnovu komuniciranja, kao i obustavljanje ili otpor spram poznatih i pozorištu. Ali kako se ispostavlja, gledalac se što nije nešto što već postoji“ (Vujanović prepoznatljivih društvenih oblika i poredaka tu posmatra kao pasivni element komunikacije, 2010, 4). Drugim rečima, publika koja dolazi zajedničkog bića u kolektivnoj situaciji. što reprodukuje društvenu nejednakost u pozorište nije već postojeća zajednica, Podsticanje hibridnih oblika „komunikacijske (odvajajući one koji znaju od onih koji ne znaju, već skupina pojedinaca koji se tu na kratko zajednice“ je društveno-politička i performativna aktivne od pasivnih itd.) i takođe pojačava okupljaju dolazeći iz svojih različitih ličnih intervencija, analiza, preobražaj, neizvesnost i pritisak na gledaoca.4 Mada nikakva procedura života. Stvaranje „komunikacijske zajednice“ potencijalna pretnja normativnim društvenim ne bi mogla da ukloni jaz između publike i u izvedbi zahteva usmeravanje komunikacije odnosima i porecima, koje prožimaju izvedbe u kontekstu komuniciranja, Vujanović između umetnika, izvedbe i publike na zadatke, antagonistički mehanizmi našeg savremenog smatra da su savremene izvođačke umetnosti oblike i pitanja koji bi mogli da se tiču publike kapitalističkog društva komunikacije. Takav pokazale da se taj jaz ipak može posredovati – i na taj način je ubede da postane deo takve oblik zajednice se suprotstavlja suverenitetu pomeranjem izvedbene komunikacijske sheme privremene zajednice. U tom smislu, želeo bih da poznatog društvenog poretka javnim izvođenjem „od saopštavanja nečega publici (poruke, razmotrim dve zamisli u vezi s „komunikacijskom nepoznatih, spontanih i nevidljivih alternativa sadržaja) ka komuniciranju sa publikom, u težnji zajednicom“ i njenim odnosom sa umetnicima i ili skupova parametara/načela življenja i da značenje u tom procesu nastane, a ne da gledaocima u izvedbi. Moja prva zamisao bi bila zajedničkog bivanja u ljudskoj interakciji. U se prenese“ (Vujanović 2010). Jednostavnije da pojam „zajednice“ razdvojim od njegovog kontekstu pozorišta i izvođačkih umetnosti, rečeno, mada možda i ironičnije, Vujanović uopštenog i uobičajenoj shvatanja, a druga da podsticanje hibridnih zajednica otvara zapravo tvrdi da ono što se u savremenoj odredim na šta se odnosi pojam „procedure“ igralište za određivanje i razvijanje načelâ izvedbi saopštava nije ni značenje niti bilo kakva u stvaranju komunikacijske zajednice. komunikacijskog pregovaranja/posredovanja u druga vrednost do same komunikacije, drugim (ne)jednakom, kontrapunktskoj komunikaciji rečima, želja za nastavkom komuniciranja, Komunikacija i „zajednica“ u između teritorija gledaoca, umetnika i što postaje neka vrsta koda savremenosti. izvedbi ● Kada je reč o komunikaciji umetničkog dela – kako su određene u praksama Osnova njene tvrdnje je bliska Agambenovoj umetnika i gledalaca, možda je neophodno izvođačkih umetnosti u odnosu na pozorišni viziji komunikabilnosti, koja ne saopštava ništa naznačiti da je konvencionalni pojam „zajednice“ aparat, npr. u savremenom plesu i koreografiji. drugo do sposobnosti jezika da saopštava. – strukturisanog ili hijerarhijski uređenog Osim toga, takvo pregovaranje pomera te On to čini samo svojom praksom odnosno jedinstva/društva okupljenog oko zajedničkih teritorije, u cilju izazivanja i intervenisanja delovanjem, mogućnošću, kontekstom, vrednosti, zamisli, problema itd. – preuzak, operativnošću i razumljivošću. Pa ipak, jezik jer počiva na odnosima moći, nejednakosti 7 Kada je reč o teorijskim pristupima u vezi s britanskom ne može da saopšti vlastitu komunikabilnost, društvenih uloga i položaja, kao i na podelama antropologijom kulture iz druge polovine 20. veka (tačnije, sa interpretativnom i simboličkom antropologijom), autor koga bi već samo da je pokaže delujući kao medij ili u smislu statusa. Ono što se čini da nastaje trebalo pomenuti u vezi s pojmom communitas je Victor Turner. proces komuniciranja (Agamben 1993). u današnjim participativnim i interaktivnim U svojim istraživanjima obreda, kriza, sukoba i njihovog značaja U savremenim izvođačkim umetnostima praksama izvođačkih umetnosti jeste u stvaranju društvenih struktura u afričkim zajednicama, Turner je koristio pojam communitas za nestrukturisane zajednice, i koreografiji ima konkretnih primera koji redefenisanje „zajednice“. Za sada ću samo zajednice u nastajanju tokom prelaznih razdoblja preuređivanja ispoljavaju gore iznetu tezu o komunikaciji, pomenuti nekoliko primera, opet iz područja ili propadanja postojećeg društvenog poretka. Po Turnerovom uključujući radove umetnika poput Xaviera savremene koreografije:On Trial Together (Ana shvatanju, communitas se pojavljuje u trenucima restrukturisanja Vujanović i Saša Asentić), The Entropic Institute poznate društvene strukture neke zajednice, kroz kolektivna 3 Ta nova stremljenja odnose se na ponovno institucionalno i javna delovanja i pokrete telâ, ne samo retoriku. U takvim usredsređenje na komunikaciju tokom 90ih i 2000ih godina, u (Deufert i Plischke), By Invitation Only (Christina zajednicama u nastajanju, ti telesni pokreti se zasnivaju na radovima raznih oblika izvođačkih umetnosti, od autora poput, načelima zajedništva i jednakosti među njenim pripadnicima/ u oblasti savremene koreografije, Jérôma Bela, Xaviera Le Roya, 5 Ovaj projekt je pokrenula Christine De Smedt, a u njemu je ljudima (vid. Turner 1982 i Tarner 1989). Nasuprot njemu, filozof Borisa Charmatza, Plischkea i Deufert, Alice Chauchat, Mette učestvovalo još osam koreografa, uključujući, između ostalih, Roberto Esposito communitas tumači ističući da se zajednice Ingvartsen, Iva Dimčeva i dr; u dokumentarnom i readymade Mårtena Spångberga, Mette Edvardsen i Tina Sehgala. zasnivaju na našim temeljnim drugostima u odnosu na nas same, pozorištu: Christopha Schlingensiefa, Rabiha Mrouea, Rimini 6 Ispitujući i kritikujući sam aparat pozorišta, ulogu gledaoca, na dugu i obavezi, a ne na zajedništvu. Za Esposita, zajednica Protokolla i dr. i u akcijama na razini zajednice: Shannon Flattery, načela autorstva i načine proizvodnje u plesu i koreografiji, odnos nije kolektivna spona koja se u nekom trenutku pojavljuje da bi Thomasa Hirchhorna, trupe Krétakör i dr. tržišta umetnosti i ekonomije razmene, načela iza proizvodnje povezala pojedince. Naprotiv, to je „izlaganje nečemu što prekida 4 A što je kod Jacquesa Rancièrea kritička osnova alternativnog i podele znanja u plesu, saradnju i umrežavanje umetnikâ kao i izvrće zatvaranje: vrtoglavici, sinkopi, grčenju u kontinuitetu političkog načela emancipovanog gledaoca (Ransijer 2010). pojedinačnih autora i umetnikâ pri ustanovama itd. subjekta“ (Esposito 2010, 7). 52 TkH 21 Društvena koreografija Igor Koruga spram konvencionalnih vidova umetničke i preobraze ovekovečene i proceduralne elemente način, koreografija se koristi kao društvena proizvodnje i potrošnje u kapitalizmu.8 koji su postali uslužni ili normativni – ostatke pojava za analiziranje izvođenja u savremenom starih intelektualizacija i praksi koje su oblikovale društvu – u društvenim strukturama, porecima, proceduralnost i koreografija ● uverenja u obrazovanju, na tržištu umetnosti komuniciranju i ulogama u našim svakodnevnim Još jedno pitanje koje treba razmotriti u izgradnji i u društvu po pitanju šta je to „normalno“ u životima. Ali s jednog drugačijeg stanovišta, „komunikacijske zajednice“ u pozorištu jeste koreografiji (vid. Cvejić i Vujanović 2012, 75). pitam se da li bi umetnički prilaz takvom njena proceduralnost. U tom smislu, počeo bih Imajući u vidu činjenicu da umetnička pristupu koreografiji i njegova primena u posmatranjem koreografije kroz savremene metodologija nužno ne konstituiše gledalaštvo u pozorišnom aparatu mogli da uposle koreografiju pristupe, od 90ih godina naovamo. Kao što pozorištu, neke aspekte teze Bojane Cvejić ipak kao analitičko oruđe u tumačenju i društva? sam gore pomenuo, ovaj paradigmatski nalazim korisnim, u razmatranju podsticanja Drugim rečima, ako bi neki koreograf/autor obrt u umetnosti plesa i koreografije uveo „komunikacijske zajednice“ između publike i bio umetnički nadahnut da ispita ideološki je proceduralizaciju kao autoreferentno umetnika. Kada je reč o sponi proceduralizma koreografisanu performativnost društva u metodološko sredstvo za poimanje plesa. Pored i koreografije, zanimaju me konkrektni načini kontekstu gledalaštva i pozorišnog aparata, zastupanja posebne obrazovne složenosti i upotrebe koreografije u pozorišnom aparatu onda bi trebalo da sačini predlog koreografije, konkretne političke i javne važnosti koreografije, radi komuniciranja s gledaocem o razotkrivanju, kroz koji bi uspostavio komunikaciju sa proceduralizacija je, što je još važnije, prekidanju i preobražavanju normativnih publikom (stvarajući komunikacijsku zajednicu odvojila koreografiju od zatvorenog pojma procedura našeg društvenog (sa)postojanja, s njom) i primenio ga kao analitičko oruđe komponovanja.9 Ipak, noviji teorijski pristupi delovanja i komunikacije, oko kojih je toliko lako za tumačenje i kritikovanje društvenoga, – poput pristupa Bojane Cvejić – ispituju da li složiti se i primeniti ih u današnjem neoliberalnom a možda i za intervenisanje u javnome. se naše konceptualno i funkcionalno bavljenje i kapitalističkom društvu.11 Drugim rečima, kako Taj pristup se može prikazati kroz sledeći procedurama u koreografiji poslednjih godina komunicirati kroz koreografiju političko, socio- primer iz savremene koreografske prakse. (teorijski, u plesnom obrazovanju; primenjeno, antropološko i umetničko preispitivanje načelâ Početkom prošle decenije, koreografkinja kroz dramaturgiju u plesnoj praksi) okoštalo u koja pokazuju, na primer, “koje sile i aparati, Christine De Smedt pokrenula je projekat 9x9 normativna koreografska „know-how“ rešenja nemetaforično i svakodnevno, koreografišu sa ciljem da promisli odnos individualnosti i koja više ne propituju ulogu i svrhu same potčinjavanje, mobilisanje, pokoravanje i zajednice i pojam umetnosti kao masovnog koreografije (vid. Cvejić 2013).10 Ponavljanje hapšenje“ (Lepecki 2012, 21)? Ta načela nije događaja. Radeći sa „amaterima“ ili, jednostavno, procedura je problematično samo ako se lako artikulisati ni razumeti u današnjoj ljudskoj običnim ljudima iz raznih gradova u kojima je neprestano čini bez povremenog analiziranja interakciji i njenoj performativnosti u javnoj sferi gostovala, De Smedt je istraživala kako se ljudi ili preispitivanja svrhe, funkcionalnosti i (i prostoru). I dok naizmenično komponuje javnu ponašaju u skupinama, kako obrazuju privremene osnovnih doktrina. Pošto procedure određuju sferu i ostaje ideološki, „estetski oblik kojim skupine uprkos svojim različitim interesima i kako kako poimamo procese, činove, pojmove i bi trebalo izraziti ta načela jeste neodređen i se one posle ponovo raspadaju. Koreografska stavove, kako ih doživljavamo, kako oni uređuju zahteva nedelotvorno duge ideološke rasprave struktura izvedena u Nantu u Francuskoj, kao sisteme funkcionisanja, održavaju obrasce u kolektivnom umu da bi se pretvorio u jedna od predstava u okviru projekta, osmišljena mišljenja, delanja i komuniciranja, spona između konkretne političke zahteve“ (Cvejić 2013, 75). je kroz razne društvene igre zasnovane na proceduralnosti i koreografije, kako pokazuje matematičkim načelima (npr. permutacijama), da Cvejić, mogla bi se razmotriti i za još jednu KoreoGraFija kao oruđe za bi nastao uređen haos. Taj uređeni haos je onda namenu. Koreografija bi mogla da se usredsredi tumačenje i slamanje društvenih isprepletan s raznim društvenim situacijama na ispitivanje načelâ svog proceduralnog normi ● Upotreba koreografije za tumačenje (označenim određenim pod-društvenim rada, umesto na gotova proceduralna rešenja društva podrazumeva sagledavanje koreografije koreografijama) koje su uvedene u izvedbu – koja predlaže. Ispitivanje i artikulisanje kao neke vrste sheme društva koja se može diskoteka, rok-koncert, javno obraćanje i zapisi načelâ koreografije moglo bi da izrodi nove, analizirati. To bi povezalo koreografiju s pojmom plesanja/pokreta. Fragmentarna struktura rada, preobražujuće, intervenišuće i hibridne dimenzije, izvedbe kao modela tumačenja društvenog i koju je izveo pomešan skup profesionalaca i celine, modele, koji bi mogli da razotkriju, podriju u javnoj i u privatnoj sferi.12 Sagledana na taj amatera, raštrkanih svuda po prostoru, bez jasnih granica između izvođača i gledalaca, 11 Mada treba imati u vidu i to da je čak i takvo autoreferentno 8 Jednostavno: umetnik se posmatra manje kao pojedinačan i kritičko preispitivanje postalo politički nedelotvorno ili, razotkrivala je i ispitivala određene aspekte proizvođač zasebnih predmeta nego kao saradnik i proizvođač žižekovskim jezikom, „pseudo-aktivno“, usled tesne povezanosti društveno koreografisanog ponašanja u javnosti. situacija; od konačnog, prenosivog predmeta koji se može sa savremenim modelima proizvodnje u postindustrijskoj eri, Jedan aspekt je bio ponašanje publike u odsustvu pretvoriti u robu, umetničko delo se pretvara u dugoročan u kojoj „umetnost učestvuje u mreži predodređenih modela projekt ili rad u toku, s nejasnim početkom i krajem; a publika, kritičnosti i promišljanja, kao ‘razumna politizacija’ ili izbor „poznatih“ procedura „konvencionalne“ pozorišne ranije shvatana kao „posmatrač“ ili „gledalac“, sada se pretvara u između već gotovih diskurzivnih mogućnosti“ (Kunst 2011, 128). izvedbe. Publika se povukla, tj. pokazala strah saradnika ili učesnika. (Bishop 2012, 2). Kako Bojana Kunst naglašava, usled tržišta umetnosti koje i neprijatnost spram nekoliko svakodnevnih 9 Prema Bojani Cvejić, koreografija je istorijski poistovećivana neprestano održava fleksibilnost neoliberalne kapitalističke s kompozicijom ili upisivanjem formalnog reda u prostor i vreme politike nuđenjem raznih političkih izbora i koje gledalačke društvenih situacija prozirno prikazanih u putem pokretâ telâ. Kako Cvejić naglašava, upisivanje pokreta u zajednice stvara pomoću moralnih kategorija a ne političkom pozorištu (usled straha od izvođenja, neznanja, prostor i vreme je sasvim nejasan, prazan označitelj, ali regulativni subjektivizacijom, čak i radikalne kritičke prakse izgledaju manje neuspeha u „razumevanju“ savremenog pojmovi upravo tako i rade – oni ispunjavaju svoju normativnu delotvorno i zahtevaju dublje preispitivanje. umetničkog rada itd). Takve reakcije pokazuju ulogu upravo zahvaljujući neuhvatljivosti svog sadržaja. Prema 12 Pozajmljeni iz sociologije, antropologije i studija izvedbe, tome, takav zatvoren pojam koreografije počiva na koreografiji pojmovi koji odgovaraju takvom modelu pokazuju da potrebu da koreografijom ispitujemo javno i svodi je na sporazum („šta god bila tvoja kompozicija, mora posmatranjem javnosti kao pozorišta/izvedbe (kroz konkretne ponašanje publike, u ovom slučaju njihovu se ticati pokreta tela i parametara prostora i vremena“) i istorijske primere, od antičke Grčke, preko ere građanstva, spremnost da odlučuju da li će samo poštovati hijerarhijskog aparata proizvodnje (koreograf prenosi znanje do neoliberalnog društva), priznajemo da onog trenutka kada plesačima pomoću modela pokazivanja i kopiranja ili oblikovanja stupimo u javnost, mi zapravo izvodimo za druge i pred drugima. pravila ili će tokom izvedbe svojim prisustvom materijala). (Cvejić 2006) Evo nekih primera: teorija izvedbe (John McKenzie), društvena i učešćem nastojati da preobraze već postojeći 10 Ovo treba imati u vidu, naročito u svetlu neprestane drama (Victor Turner), društvena koreografija (Andrew Hewitt), proizvodnje priručnika, alata, notacija, metoda, protokola, čovek kao glumac (Richard Sennett), tehnologije sopstva (Michel (Richard Schechner), izvođenje identiteta (Judith Butler), pojam manifesta, intervjua, samo-intervjua i knjiga o kreativnosti u Foucault), habitus (Pierre Bourdieu), pojam društvenih uloga i otelovljenja (Thomas Csordas), govorni činovi (John Austin) itd. savremenoj koreografiji (vid. Cvejić 2013). izvedbe sopstva (Ervin Goffman), razlikovanje čina od izvedbe (Vid. Cvejić i Vujanović 2012). Koreografija kao analitičko sredstvo za... Društvena koreografija TkH 21 53

(koreografski) predlog. Ili, konkretno, da li među njima, raspodele „čulnog“ i ideoloških društvene organizacije, društvene interakcije će gledalac plesati kao da je u diskoteci, na diskursa koji oblikuju zajednički, simbolički i u odnosu na proizvodnju umetnosti, razmenu primer, ili reagovati na obraćanje kroz javni čulni poredak društva, koji oblikuje materijalnu znanja, marketing, subjektivitet umetnika politički govor. Konačno, organizovanjem mase društvenu strukturu. (Vujanović 2010) u društvu itd. U tom smislu, predstavljanje ljudi u prostoru pomoću telâ (izvođačâ) ispitan projekta Temporaries u različitim društvenim je još jedan aspekt društvenog ponašanja, Osnove za uspostavljanje kontekstima tokom protekle dve godine donelo pokazujući kako se gledaoci pojedinačno komunikacijskih zajednica pomoću nam je i različita iskustva. Na primer, u Berlinu je ponašaju i postavljaju u odnosu na takvu koreografije ● Razmišljanje o upotrebi publika uglavnom poštovala pravila i strukture (ne)strukturisanu masovnu situaciju. koreografije kao analitičkog oruđa za tumačenje događaja, pa bi nam nakon predstave najčešće Ovaj kratak prikaz rada De Smedt nam i slamanje normi našeg pluralnog sapostojanja naglašavala osećaj bezbednosti svoje uloge dozvoljava da iznesemo dva zapažanja. Jedno u savremenom društvu otvara sledeće pitanje: gledalaca. Nasuprot Berlinu, u Beogradu i je da se koreografija može upotrebiti kao na kojim osnovama treba da počiva takav Kortrajku (Belgija), imali smo sasvim drugačije analitičko oruđe za (umetničko) tumačenje koreografski okvir? Naročito imajući u vidu da iskustvo – u oba grada, publika je pokušavala društvenog (ponašanja, poretka, uloge itd), se to podstiče unutar pozorišnog dispozitiva, da poremeti predloženu strukturu izvedbe, preko metodologije, procedura i struktura koje koji posreduje, pregovara, čak i raspravlja o insistirajući da promenimo pravila, osporavajući upravljaju predlogom/okvirom izvedbene situacije jazu između utvrđenih teritorija umetnika i hijerarhiju i odnose moći između umetnika i koja se stvara u komunikaciji sa publikom. Drugo gledaoca, oblikujući društveni pluralitet koje gledalaca, promišljajući pojam demokratskog zapažanje je da ova konkretna koreografija ne „podiže kriterijume, problematizuje vladajuće konsenzusa i način da ga postignemo u ovoj samo počiva na predstavljanju i razotkrivanju, vrednosti i stvara društvenu klimu za pružanje izvedbi, razmišljajući i o alternativama u procesu već i prelama i ispituje koreografiju kao društvenu diskurzivnog prostora mnoštvu često disonantnih kolektivnog donošenja odluka itd.15 Ova iskustva pojavu, ideološki oblikovanu našim raznim mikro- glasova“ (Deschooling Classroom 2013, 213). su za nas otvorila važno pitanje, koje se tiče i pod-društvima i otelovljenu našim ponašanjem Možda nam par primera iz izvođačkih umetnosti davanja i uzimanja prostora – posredovanja, u javnoj sferi.13 Ovaj primer pokazuje da upotreba mogu pomoći da nađemo neke odgovore. pregovaranja, kao i prekidanja i raspravljanja u koreografije kao sheme i analitičkog oruđa Šestoro umetnika, uključujući i mene, koji određenim prilikama o pitanju ko ima pravo da za umetnička tumačenja društva neizbežno smo već radili u polju savremenog plesa i izvedbe uzme/dâ prostor u komunikaciji između umetnika počiva na postavljanju „komunikacijske na beogradskoj nezavisnoj umetničkoj sceni, i gledalaca prilikom izvedbe? Možda to pitanje zajednice“ kroz koju umetnik i gledalac mogu pokrenuli smo 2011. umetnički projekt i izvedbu ostaje značajno kao načelo izgradnje privremenog zajedno intervenisati u društvenom kontekstu, pod nazivom Temporaries (Privremenici).14 pluraliteta kolektivnog vežbanja aktivnosti u menjajući njegov sistem vrednosti, ideologiju i Ovu participativnu/kolaborativnu izvedbu vezi s problemima javne sfere, u okviru pozorišta druge vladajuće sisteme. Ipak, takva upotreba organizujemo kao društveni događaj – piknik kao posebno ograničenog javnog prostora. koreografije se i dalje suprotstavlja popularnom sa umetničko-zabavnim programom – u U sličnom sam se položaju našao na festivalu teorijskom uverenju da umetnost treba da se kojem se umetnici (kao voditelji) zajedno ImPulsTanz 2011, kada sam učestvovao u oslobodi od „beskorisnog“ područja estetskog s gledaocima suočavaju sa i intervenišu jednom događaju koji je u isti mah bio i izvedba i i vezuje samo uz društvenu praksu i promenu u društvena i umetnička pitanja i načela predstavljanje štampanih izdanja, pod naslovom društva. Kako primećuje Claire Bishop, takvo uređivanja društva, naglašavajući uslove rada Tell Us the Future of the Nomad Dance Academy razmišljanje poima participativnu/kolaborativnu na lokalnoj i međunarodnoj nezavisnoj sceni and Receive a Gift of 1,000 Euros(Ispričajte nam umetnost samo kroz neoliberalna načela politike izvođačkih umetnosti (kao što su privremenost, budućnost Nomad Dance Academy i osvojite identiteta, favorizujući samo „jednu stranu“ – solidarnost, prekarnost, konkurencija, nagradu od 1000 eura).16 Na tom događaju, gledaočevu – i na taj način potvrđujući vrednosti nastajanje (emerging) / umetnik u nastajanju, predstavljena su izdanja NDA ili zajednička poput poštovanja „drugog“, osnovnih sloboda, kolektivizam, samoostvarivanje, spremnost, izdanja s partnerima (Alfirević i Tanurovska političke korektnosti itd. Shodno tome, ono političnost, različitost itd). Projekt teži da Kjulavkovski 2012), ali na nešto drugačiji način zanemaruje i previđa činjenicu da je „estetsko“ analizira i ispituje ova pitanja na mikrorazini, – publika je bila pozvana da dâ predloge u vezi sposobnost promišljanja protivrečja. Rezimirajući u posebnim kontekstima u kojima se izvodi. s budućnošću NDA, pri čemu bi autor ili autori Rancièreovu tezu o rehabilitovanju veze između Sam događaj je zasnovan na dekonstruisanju najnadahnutijeg predloga dobili nagradu od 1000 estetskog i politike, Bishop smatra da estetsko piknika, pretvarajući ga od (poznatog) udobnog i eura (koliko je iznosio ceo budžet koji je festival nosi produktivnu protivrečnost odnosa umetnosti prijatnog društvenog događaja u dugačku izvedbu dodelio programu). Uslovi ovog susreta bili su prema promeni društva, koju odlikuje upravo taj sa složenim skupom pravila, koju postaje sve 15 U tom smislu, ovaj događaj je u nekoj meri „proizvod sa naboj između vere u autonomiju umetnosti i vere teže i teže razumeti i savladati. Koreografska istraživanjem“, pošto je pri svakoj izvedbi pod uticajem (naravno u umetnost kao neraskidivo vezanu za obećanje struktura ili osnova komuniciranja sa publikom u drugačijeg) konteksta. On nudi koreografiju kao model tumačenja boljeg sveta koji će doći. (Bishop 2006, 183) ovom projektu počiva na naizmeničnoj upotrebi društveno-kulturnih normi, vrednosti i ideologija otelovljenih u svakodnevnom delovanju, otvarajući nam prostor da ih ometamo i Ta promena društva ne počiva toliko na predstavljačkog/estetskog i društvenog vida kolektivno doživimio nešto hibridno, neznano, nepoznato itd. društvenom aktivizmu koliko na „političnosti“ izvođenja. Ta naizmenična upotreba obuhvata 16 Te godine, Nomad Dance Academy je bila pozvana na umetničkog dela, koja se, prema Ani Vujanović, minijature predstavljačkog plesa/umetnosti (koje ImPulsTanz, gde je organizovala rezidencijalni program da bi obezbedila vreme i prostor za eventualne događaje, razmenu ogleda u načinima na koje to delo deluje čine umetničku stranu događaja) i društvene igre znanja i razgovore. U tu svrhu, NDA je obrazovala Nomad Task i interveniše u javnom prostoru, u smislu koje ispituju razna načela društvene organizacije Group (NTG), privremen kolektiv od 14oro ljudi na ovaj ili onaj rasprava i sukoba oko subjekata i objekata i kolektivnih/pojedinačnih odnosa koji dalje vode način povezanih s prošlošću/sadašnjošću/budućnošću Nomad koji u njemu izvode, rasporeda položaja i moći putanju događaja. Postupak počiva na podsticanju Dancy Academy kao vida organizovanja. Jednu trećinu članova ovog tela činili su članovi Decision Making Body NDA (DMB), jednu kolektivne vežbe suočavanja, tumačenja trećinu bivši polaznici Akademije, a preostalu trećinu članovi 13 Ova zapažanja su još ubedljivija ako se ima u vidu činjenica i raspravljanja o mehanizmima i načelima izvan NDA. Učesnici rezidencijalnog programa bili su Dalija Aćin da je rad 9x9 izvođen na međunarodnoj plesnoj sceni tokom Thelander, Dragana Alfirević, Igor Dobričić, Aleksandar Georgiev, razdoblja od 5‒6 godina, sa 18 postavljenih verzija i tumačenjem 14 The Temporaries su: Ana Dubljević, Dušan Broćić, Igor Emma Kim Hagdahl, Igor Koruga, Manuel Pelmus, Ana Schnabl, različitih društvenih i javnih pitanja u svakom od konteksta u Koruga, Marko Milić, Jovana Rakić Kiselčić i Ljiljana Tasić. www. Dejan Srhoj, Iskra Šukarova, Johan Thelander, Sanja Tropp kojima je prikazan. temporaries.weebly.com Frühwald, Angela Vadori i Rok Vevar. 54 TkH 21 Društvena koreografija Igor Koruga odraz pokušaja učesnikâ festivala okupljenih oko raspravljati u vezi sa izvedbom u savremenom može i u pozorištu“ – Goran Sergej Pristaš je na NDA da pristupe problemu grupnog identiteta. društvu i kontekstu pozorišta. Ali možda bi jednom skupu u Barseloni prošle godine rekao Čitava izvedba trajala je osam časova u pozorištu bilo još zanimljivije razmatrati ih u smislu da „u pozorištu može da se desi sve što može Garage X u Beču. Tokom prvog dela, predstavljeni potrage za prekidima u konvencijama (u i u svetu, jer ono što se dešava u pozorištu, su predlozi a drugi deo je bio posvećen demokratiji), što bi moglo da nam omogući da već se dešava u svetu“. Njegova izjava nas na otvorenom, kolektivnom procesu donošenja intervenišemo u izvedbi naših društava.17 zanimljiv način dovodi do pitanja ostavljenog odluke od strane učesnikâ rezidencijalnog za kraj: koliko smo otvoreni za pogled sa programa NDA koji će predlog biti nagrađen. * * * strane, da bismo videli kako „čudovište“ Pošto su predstavljeni predlozi, članovi NDA Sagledavanje koreografije kao analitičkog radi i „učinili“ nešto povodom toga? ■ su kolektivno objavili važno načelo donošenja oruđa za tumačenje i intervenisanje spram odluka koje se u razgovoru već pomaljalo: društvenog može se povezati s više aspekata navedeni radovi: širenja. Na osnovu već usvojenog shvatanja Agamben, Giorgo, „The Coming Community“, University of Minnesota Press, Mineapolis, 1993. Mogu da donosim odluke/izbore koji će da je kontekst promenljiv, ne zahvaljujući alfirević, Dragana i Tanurovska Kjulavkovski, važiti za mene, ali moje odluke/izbori nikada ne pojedincu, nego svima nama (Deschooling Biljana (ur.), The Present [Nomad Dance Academy Publication treba da ometaju mogućnost drugih da donose Classroom 2013, 213), na razini discipline i s 2011/2012], Lokomotiva, Skoplje, 2012. Bishop, Claire, „The Social Turn: Collaboration and vlastite nezavisne odluke/izbore – umesto jednog stanovišta, on počiva, između ostalog, Its Discontents“, http://www.artforum.com/inprint/ toga, treba da ih osnaže u vlastitom donošenju na uključivanju umetnosti u društvo, zajednicu, issue=200602&id=10274, 2006. (24. oktobar 2013.) nezavisnih odluka/izbora. (Dobričić 2012, 33) saradnju, interakciju, osposobljavanje, Bishop, Claire, Artificial Hells: Participatory Art and the Politics delovanje – pojmove koji se tradicionalno of Spectatorship, Verso Books, London – Njujork, 2012. Cvejić, Bojana, „To end with judgment by way of clarification…“, S tom objavom, počela su da se pojavljuju možda pre vezuju za društvene nauke. Ta http://www.mobileacademy-berlin.com/englisch/2006/texte/ neka imena i predlozi koje su članovi NDA uključenja bi koreografiju preoblikovala kao cvejic03.html, 2006. (4. decembar 2013.) smatrali značajnim za budućnost NDA. Deset praksu artkulisanja/podsticanja/isprobavanja Cvejić, Bojana, „Proceduralism“, u Bojana Cvejić i Goran Sergej Pristaš (ur.), Parallel Slalom: A Lexicon of Non-aligned Poetics, njih je stavljeno na papir i zatim je osmišljena posebnih javnih rečnika društvenog uređenja TkH, Beograd – CDU, Zagreb, 2013, str. 236–247 sledeća procedura: jedna osoba je čitala imena ili demokratskih modela u savremenom Cvejić, Bojana i vujanović, Ana, „The Open Work: Does sa spiska, jedno po jedno, a ostali je trebalo društvu, što bi joj donelo i nov značaj u odnosu It Deserve Theory Today?“, TkH: časopis za teoriju izvođačkih umetnosti br. 10, 2006, str. 128–139 da odluče ko će ostati na spisku. „Ko je želeo na savremenu umetnost. Ali, s drugačijeg Cvejić, Bojana i vujanović, Ana, Public Sphere by da neko ime ostane na spisku, samo je trebalo stanovišta, takav pristup koreografiju ne bi Performance, b_books, Berlin – Les Laboratoires d’Aubervilliers, da stane uz njega, svojim željama, stavovima trebalo da posmatra samo kao društvenu Pariz, 2012. Deschooling Classroom (o^o), Terms Study Group, i intuicijama; u protivnom, ništa. Kad god niko delatnost ili praksu. Koreografija bi takođe „Eastern European Contextual Art: Approaching, Diagnosing, and nije reagovao, to ime bi bilo izbrisano“. (Dobričić trebalo da ostane i simbolička praksa, te da Treating the Problems“, u Bojana Cvejić i Goran Sergej Pristaš (ur.), 2012, 33) Posle pet krugova, spisak se sveo artikuliše nove načine i strukture ometanja Parallel Slalom: A Lexicon of Non-aligned Poetics, TkH, Beograd – na pet imena. Iako smo postupak više puta postojećih i predlaganja drugačijih vidova CDU, Zagreb, 2013, str. 204–214 Dobričić, Igor, „Recapitulation of NDA Residency at the ponovili, spisak više nismo mogli da smanjimo. društvenih i ljudskih odnosa, umesto (samo) ImPulsTanz Festival“, u Dragana Alfirević i Biljana Tanurovska Pošto smo već svi bili umorni posle osam odnosa moći ili potrošnje, naročito ako je reč o Kjulavkovski (ur.), The Present [Nomad Dance Academy časova ove „izvedbe“, preostala imena smo aparatu pozorišta. Potencijal koji bi tako nastao Publication 2011/2012], Lokomotiva, Skoplje, 2012, str. 32–35 esposito, Roberto, Communitas: The Origin and Destiny of stavili u jednu ImPulsTanz vreću. Iz te vreće je obuhvatio bi zamisli, iskustva i mogućnosti Community, Stanford University Press, Stenford, 2010. izvučeno ime osobe koja je dobila 1000 eura. proizašle iz ljudske interakcije, savezničkog Kunst, Bojana, „Budite politični ili vas neće biti (O političkoj Prema normativnom određenju učešća i zajedništva zasnovanih na drugim umetnosti u postpolitičnom svetu)“, u TkH br. 19: Političnost performansa, 2011, str. 32–37 demokratskog legitimiteta, on zavisi isključivo načelima a ne samo na istovetnosti i drugosti, lepecki, André, „Introduction: Dance as a Practice of od proceduralnosti procesa demokratskog konsenzusu i neslaganju. Tu koreografija ostaje Contemporaneity“, u André Lepecki (ur.), Dance, MIT Press, donošenja odluka, bilo da počiva na savršenim posrednički predmet, pojam, slika ili priča, Kejmbridž SAD, 2012. ransijer, Žak, Emancipovani gledalac, Edicija Jugoslavija, ili nesavršenim normama i bez obzira na ishod kao neophodna spona umetnika i publike. Ona Beograd, 2010. (Cvejić i Vujanović 2012, 72‒73). Imajući to u nam omogućava da pozorište posmatramo Tarner, Viktor, Od Rituala do teatra: ozbiljnost ljudske igre, vidu, pitam se koliko je događaj iz pozorišta kao javni prostor za isprobavanje, kao skup August Cesarec, Zagreb, 1989. Turner, Victor, The Ritual Process: Structure and Anti- Garage X bio legitiman proces donošenja odluka, odnosa, društveni i komunikacijski entitet, structure, Aldine Pub. Co., Čikago, 1969. pošto je bio još širi nego što bi to konvencije kao sredstvo pre nego medij; kao okvir za vujanović, Ana, „Politics of Dance: Subject, Media and demokratskog konsenzusa dopuštale. bavljenje društvenim, političkim i antropološkim Procedures of Work“, predavanje, 2010, http://www.anavujanovic. To je proširenje postignuto kolektivnim pitanjima i eksperimentisanje s njima. info/#!/2011/08/lecture-politics-of-dance-subject-media-and- procedures-of-work-giessen-2010-2/ (7. novembar 2013.) usaglašavanjem načela kojime je uobličena i Parafrazirajući čuveni citat filozofa Denisa vujanović, Ana, Performance and/as (Mis)communicational ja bih se čak usudio da kažem i koreografisana Diderota – „što god može da se desi u svetu, Community, master seminar, Universidad de Alcalá – Museo procedura koja je takođe kolektivno i izvedena, Nacional Centro de Arte Reina Sofia, Madrid, 2010. lagano se približavajući ishodu (jednoglasnom 17 Na primer, jedan od tih prekida bi mogao da se odnosi i izboru pobednika). Nažalost, cilj nije dostignut, na činjenicu da kao pojedinci raspolažemo sasvim različitim duštvenim i telesnim moćima i sposobnostima. Prema tome, zbog umora i nemogućnosti da se ode dalje. ovo su večita pitanja: kako (kojim načelima) da premostimo tu Ipak, osim pitanja da li se demokratija tiče nejednakost u našem sapostojanju, i u poznatim i u nepoznatim, davanja prostora drugome ili odgovornosti strukturisanim i tek nastajućim zajednicama i procesima da se prostor uzme kada je to neophodno, iz zajedničkog donošenja odluka? Kako osmisliti političko predstavljanje različitih vrsta (ne)sposobnosti i mogućnosti u ove lekcije o demokratiji proizašlo je još jedno životu; telesnom zdravlju; telesnoj celovitosti; razvoju čula, mašte zanimljivo zapažanje: o odnosu konsenzusa u i misli; razvoju praktičnog rasuđivanja; razvoju pripadnosti – i demokratiji i proceduralnosti u uspostavljanju neformalne, u porodici i prijateljstvu, i formalne, u političkim zajednicama; razvoju sposobnosti uspostavljanja odnosa i s gledalaštva / komunikacijske zajednice u drugim bićima itd. (Podrobnije rasprave o ovim pitanjima vid. u izvedbi. O ta dva problema bi se dalje moglo teoriji pravde i drugim delima Marthe Nussbaum.) Dvostruka ekspozicija Društvena koreografija TkH 21 55 Dvostruka ekspozicija

Goran Sergej PriSTAš ● ● kao „skup mogućih profila, zbir horizonata. Ovdje netko nekome izlaže (exposes) izvedbu. Ikonografija je ono što je moguće ili što se može Izbijanjem iz bijele pozadine, isturenošću prema Koliko nas je skupa, konačno? I tko govori saznati, ili proizvjesti, ona je fenomenološki gledatelju, izbijanjem u odnosu na apstraktnu u ovom trenutku? I kome? I o čemu? izvor, rupa, crna kutija“ (Serres 1995, 19). bijelu pozadinu do podjeljivosti izvedbe na Samuel Beckett, Bezimeni Sjećanje na verziju izložbe “Retrospective” centrifugalni izvedbeni stroj i centripetalne (Retrospektiva, 2012.) Xaviera Le Roya koju izvedbene objekte. Izvedbeni način (mode) Teatru je, u fizičkom smislu, najčešće sam ja vidio u Antoni Tapiès Foundation u ponašanja sugeriraju tangencijalna utrčavanja uskraćena pozicija gledanja koja je već postala Barceloni započinje prvom podjeljivošću, i istrčavanja izvođača kroz izložbeni prostor, normalizirana u galerijama i muzejima – gornja podjeljivošću pogleda na pogled odozgo i na ali same izvedbene situacije ekstrahirane iz perspektiva ili ptičja perspektiva, uglavnom, pogled iz prostora izvedbe. Ulazak u izložbu je ranijih predstava Xaviera Le Roya ne tvore pozicija gledanja s mjesta na kojem se odozgo, po stepenicama koje uvode u kotao, neku poopćavajuću logiku jedinstva izvedbe može vidjeti i samo gledanje. U suvremenim bijeli cilindar nalik na onaj iz Beckettovih The nego funkcioniraju anegdotalno, pojedinačno, arhitektonskim muzejskim sklopovima često su Lost Ones (Izgubljenih). Pogled odozgo doima ne stoje za multiplicitet, nego jedinstvenost to mostovi, galerije, transverzale iznad izložbenih se poravnavajućim, istovremenost izvedbe problemskog obzora svakog koreografskog prostora koje omogućuju pogled na cjelinu i čina promatranja ne pretjerano pojavno citata, dočim su kao cjelina investirani u svrhu prostora i postava. U povijesti arhitektonike diferenciranih izvođača i gledatelja u istom koja je izvan njihovih pojedinačnosti. Svaki teatra gledanje gledanja nije novo i poznato kotlu naizgled ne sugrerira ništa, doima se taj segment operacije jedan je vremenski je da je u renesansnom teatru čin kraljevog tragom (ichnos) izvedbe i poziva nas prema sklop i ima svoju operativnu funkciju ili jest gledanja, točnije, slušanja predstave morao biti dolje. Šum izvođenih fragmenata i ukrižanih posljedica operacije same. Ti su sklopovi viđen pa je kralj nerijetko zauzimao centralno pogleda, međutim, ubrzo zahtijeva odgovor diskretne jedinice u istom operativnom mjesto u dvorani. Kako se spektakl micao sa na pitanje: Što je to? Izložba ili izvedba? I prije teritoriju, u vremenu trajanja izložbe kraljevske pojave na prizor, od Wagnerijanskog silaska niz stepenice očito je da netko izvodi (dnevnom ili ukupnom), ali su istovremeno kazališta naovamo gašenje dvoranskog svjetla nešto za nekoga. Međutim, u toj izvedbi gledatelj proizvodi s različitim genealogijama, odnosno, sve više prikriva gledanje, čime pojačava je eksponiran. Svojim gledanjem (u prostoru) posljedice su strukturnih uzrokovanja u i njegov intenzitet i fokus. U galerijskim i izložbe, gledatelj je izložen (exposed) izložbi, ali problemskom polju koje ima različite unutarnje muzejskim prostorima potreba za pogledom ne i izložak (exhibit) na izložbi. Ova višestrukost vremensko-prostorne dinamike i materijalnu odozgo povećava se sa spektakularizacijom ili druga podjeljivost, vektorska podjeljivost homogenost. Ovakvo vrijeme ne počiva na postava (najeksplicitniji primjer je, vjerojatno, gledatelja, čini već samo gledanje situacijom. sistemskoj operaciji, nego na višestrukim instalacija Richarda Serre The Matter of Time Gledatelj je promatrač, ali je i osvijetljen „jediničnim operacijama“. (Bogost 2006) (Pitanje vremena) u Guggenheimovom muzeju izvedbom, izložba kontinuirano zrači prema Dakle, postav izložbe jest izvedba, poseban u Bilbau), odnosno pogled odozgo postaje njemu, zrakasta je i orijentacija izvedbe prema stroj sačinjen od „drugačijeg metala“, struktura čestom i doslovnom alatkom u tematizaciji centru prostora. Međutim, treća podjeljivost malih diskretnih jedinica u kojoj niti jedna nije medija galerije, odnosno konteksta izlaganja garantira stabilnost situacije gledatelj-gledano, dominantna, ali niti suvišna. Stroj je kompleksniji (školski povijesni primjer je izložba Kontext a to je posljedica nesumjerljivosti pozicija od alatke ili od mehanizma koji su uvijek Kunst. The Art of the 90s (Kontekstualna gledatelja i izvođača. Iako pogled odozgo ukazuje jednosmjerni. Ovdje je riječ o stroju čiji su dijelovi umetnost: umjetnost 90ih), Neue Galerie im na mogućnosti zamjene ili izjednačavanja, postavljeni prema svojim jasnim određenjima Künstlerhaus, Graz, kustos Peter Weibel 1993). njihovo znanje o izvedbi je nesumjerljivo i gotovo onako kako Althusser opisuje apparatus: U kazališnoj scenografiji gledatelj vidi na djelu je operacija podjeljivosti aktera. singularne pojave koje se pomaljaju na vidjelo u Iako je očito da stalnim dolascima u prostor rječnička definicija također kaže da u „skupu singularnim trenucima i viđene su iz specifičnih i izlascima izvođača, zamjenjivošću njihovih elemenata“ nema suvišnih. Naprotiv, svi su oni perspektiva. Scenografija počiva na načelnom pozicija, kompozicijom istovremenosti i razmaka savršeno prilagođeni svojoj namjeni, utoliko što su zakrivanju i povremenom objavljivanju. Čak i u u izvedbi, izložba počiva na scenografskoj svi oni dio artikulirane cjeline označene kao „aparat“ crnoj kutiji koja je zapravo zatvorenost sama, operaciji skrivanja i pojavljivanja, iknografski [...] Dakle, to predviđa vrstu mehanizma u kojemu svi uvijek postoji logika planova, prekrivanja i prikaz izložbe, pogled iz ptičje perspektive dijelovi, svi kotačići i zavrtnji, rade skupa ka istome perspektivalnih razlika. Michel Serres kao pokazuje da temeljna operacija izložbe nije cilju, koji je očito izvan aparata; kada ne bi bio, ni suprotnu logici scenografije navodi iknografiju, „ekshibicija” izvođača nego ekspozicija izvedbe. aparat ne bi bio „zaseban“. (Althusser 2006, 82–83) 56 TkH 21 Društvena koreografija Goran Sergej Pristaš

Izvedba je tako ansambl diskretnih sklopova odnosa tijela u prostoru (onog životinja, sporta, iz naknadnog ili retardiranog promišljanja koji imaju svoje temporalne odrednice, ali i koncerta itd.) koreografsko nesvjesno, ono prošlog događaja. “Retrospective” stoga nije čiji međusobni susreti, zakrivljenja i stjecaji što je potisnuto u slojevima funkcionalnosti exhibition nego exposition u kojoj je na djelu imaju svoje. (Ibid, 167) Na operativnoj razini, i svrhovitosti tjelesnih praksi, ali svejednako „dvostruka ekspozicija“: ekspozicija gledatelja mogućnost da ovaj stroj bude i izvedba i izložba, organizira rasporede tijela u prostoru . U i ekspozicija mentalne slike prošloga, točnije samo su opcije susreta koji se mogu, ali i ne svom tekstu „Choreographic Unconscious“ izlaganje gledatelja mentalnoj slici prošloga. moraju dogoditi, čija zakrivljenja mogu, ali i ne (Koreografsko nesvesno) Marko Kostanić Rekao bih i zaključio da „dvostruka moraju proizvesti serije novih susreta.1 Cijeli niz opisuje tu metodu na slijedeći način: ekspozicija“ dovodi do djeljivosti izložbenog istraživača u okviru discipline studija izvedbe prostora: kao prostor izlaganja on je mjesto nalazio je u konstitutivnoj srži izvedbe njezinu Artikulacija koreografije kao strukturnog momenta izvedbe, ali izmještanje izloženosti sa objekta efemeralnost, izričito postojanje u prezentu i operiranja u drugim, neplesnim društvenim poljima, želje na gledatelja, izloženosti izvedbi koja je postajanje kroz nestajanje. Međutim, ovdje je ne samo što baca drukčije svjetlo na mjesta iz kojih već refleksija, čini da se prostor teatralizira nešto drugo na stvari. Riječ je o teatru prekida, je ekstrahirana, već uspostavlja i okvir za drukčija jer „se kazališnost pomalja tamo gdje se teatru koji će se prvo uvijek isprazniti, stvoriti ispisivanja povijesti plesa. Radi se dvostrukoj metodi prostor i vrijeme više ne mogu podrazumijevati prazninu i ne pitati o porijeklu nego forsirati ukidanja nesvjesnosti iz pretpostavljene odvojenosti niti smatrati zaokruženima“. (Weber 2004, susrete i sagledavati simptome, inzistirati koreografije i historijsko-socijalne stvarnosti – osim 300) Bivajući između izložbe i izvedbe, na na onome što je trag, onome što jest neki što se iz te stvarnosti iznose na vidjelo konstitutivni granicama koja je iluzija, treperenje (illudere), ostatak koji je zaživio, a mogao je i nestati, tragovi koreografije, iz samo koreografije kao Retrospective je točno između, medium, ostatak koji uvijek zadržava mogućnost da autonomiziranog umjetničkog polja izvlače se intervencija (inter- ‘između’ + venire ‘doći’). se teatar izokrene u neku drugu mašinu. nesvjesni socijalni i retorički uvjeti specifičnog A medij kao intervencija nas ne drži u Dok gledatelj i njegovo gledanje jesu legitimiranja procesa autonomizacije u odnosu stanju, nego od nas traži držanje prema stanju investirani u apstraktni stroj izvedbe, ono na socijalnu hiperkodiranost baleta i gestikularnu (Haltung).3 U slučaju “Retrospective”, riječ je o što čini svaki izvedbeni citat anegdotalnim, ideologiju svakodnevice. (Kostanić 2011, 3) susretu u kojem držanje gledatelja obdržava vremenski zgusnutim očitovanjem jedinstvenosti, ili gasi stroj izvedbe. Serija podjeljivosti ne jest Le Royeva koreografska tehnologija, na Koreografija se, da parafraziram gore omogućuje nam da se umjestimo na stabilnu način na koji, u slučaju fotografske, Benjamin navedenog Benjamina, razotkriva u tim točku u kojoj između nas i gledanog nema tehnologiju čini povijesnom varijablom magije: materijalnim fiziognomijskim aspektima tjelesnih intervencije. Jedino što nam preostaje kao odnosa koji, jednom uvećani i osposobljeni za protuotrov pogonu stalnih prekida i medijacija Zbilja je drugačija priroda ona koja govori kameri formulaciju postupkom citatnosti, prekida, jest pristupiti iskustvu iznova anegdotalno i od one koja se obraća oku; drugačija prije svega u proizvode učinak reformulacije automatizirane fokusirati svaki detalj našeg i ponašanja izvedbe tom smislu što se umjesto prostora kojim operira funkcionalnosti tehnološkog korištenja jer u svakoj od tih anegdota s kojima izlazimo s ljudska svijest, pojavljuje prostor na koji se djeluje tijela u „magiju“, potiče zadivljenost (onu o izložbe „i nesvjesno i društveni kodovi operiraju nesvjesno. Moguće je, na primjer, ma kako grubo, kojoj Aristotel kaže da rađa filozofiju). To je između motiva i odrednica“ (Cubitt 2013). ■ opisati kako netko hoda, ali je nemoguće reći bilo metoda „iz drugog pogleda“ (double take) što o djeliću sekunde kada osoba počne hodati. Po poznata kako u antičkoj tragediji, tako i u Citirani radovi: prvi put, fotografija osvješćuje optičko nesvjesno, Benjaminovoj interpretaciji epskog teatra.2 Althusser, Louis; Matheron, François; Corpet, Olivier, Philosophy of the Encounter: Later Writings, 1978–87, Verso, baš kao što psihoanaliza otkriva nagonsko Riječ je o serijalnoj igri divljenja/očuđivanja i London, 2006. nesvjesno. [...] Fotografija tu otkriva materijalne prepoznavanja/refleksije u kojima dolazi do Benjamin, Walter, “A Short History of Photography”, u Alan fiziognomijske aspekte slikovnih svijetova, koji šoka zbog naknadne, zakašnjele reakcije. Trachtenberg, Classic Essays on Photography, Leete’s Island Books, New Haven Conn, 1980. žive u najmanjim stvarima, opazivi ali ipak dovoljno U slučaju antičke tragedije dva su uređaja Bogost, Ian, Unit Operations An Approach to Videogame skriveni da bi se mogli zaklanjati u sanjarenju, ali, ključna za njezinu regulaciju: peripeteia, Criticism, MIT Press, Cambridge Mass, 2006. uvećani i osposobljeni za formulaciju, oni pokazuju iznenadni, neočekivani obrat i anagnoresis, Cubitt, Sean, “Anecdotal Evidence”, u NECSUS, Amsterdam da je razlika između tehnologije i magije samo prijelaz iz neznanja u znanje. U epskom University Press, Amsterdam, 2013, http://www.necsus-ejms.org/ anecdotal-evidence/ (17. 10. 2013.) stvar povijesnih varijabli. (Benjamin 1980, 203) teatru ti su uređaji prekid (Unterbrechung) Kostanić, Marko, “Koreografsko nesvjesno” (Choreographic i naknadno promišljanje (Nachdenken). Unconscious), u katalogu predstave Poluinterpretacije ili kako Le Royeva koreografija je koreografija visoke Međutim, rekao bih da ovdje imamo objasniti suvremeni ples nemrtvom zecu, BADco, Zagreb, 2011. Serres, Michel, Genesis, University of Michigan Press, Ann rezolucije, koreografija koja ne radi na razini reverzibilnu situaciju koja nije nastala iz logike Arbor, 1995. skladova i kompozicija nego na razini duge „drugog pogleda“ kao što je slučaj s Le Royevim Weber, Samuel, Theatricality As Medium, Fordham University ekspozicije problema. Kao što u Benjaminovu predstavama, nego o koreografiji „dvostruke Press, New York, 2004. Weber, Samuel, Benjamin’s -abilities, Harvard University Press, slučaju kamera osvještava optičko nesvjesno, ekspozicije“. Ono što je izloženo nije koreografski Cambridge, 2008. tako i Le Royeve koreografije izvlače iz drugih objekt želje već refleksija te želje, ono što modusa kretanja i formalno organiziranih od želje ostaje po naknadnom promišljanju; izložena je refleksija koreografije. Iako se na 1 Otuda oblik poretka i oblik bića, čije rođenje potiče to nagomilavanje, a koji su određeni strukturom susreta; otuda, prvu ne doima tako, pojmu „retrospektiva“ nije kada se susret dogodi (ali ne prije), preiumćstvo strukture nad nasuprotan pojam perspektive kao „gledanja njezinim elementima; otuda, konačno, ono što se može nazvati kroz“, nego prospekta kao „gledanja naprijed“. 3 Kao intervencija, ona izaziva podrhtavanje granica sve nutrine afinitetom i komplementarnošću (complétude) elemenata koji su Prospekt je po riječničkoj definiciji mentalna – uključujući i granice samoga intervala. To „podrhtavanje“ u igri pri susretu, njihova „spremnost na sudaranje-zakačinjanje“ također iscrtava omogućavajuća ograničenja kazališne scene (accrochabilité), da bi se susret „uhvatio“, to jest, da bi „uzeo slika zamišljene budućnosti. Iz te logike kao mjesta koje i razdvaja i spaja što god se nađe skupa nađe na oblika“, napokon izrodio Oblike i nove Oblike – baš kao što se voda retrospektiva je upravo mentalna slika proizašla njoj i oko nje. Takvo podrhtavanje i potresi pozivaju publiku da „hvata“ kada je led čeka, ili mlijeko kada se usiri, ili majoneza kada radi više nego samo da čuje, gledatelje da rade više nego samo se emulzifira. Otuda preimućstvo „ničega“ nad svim „oblikom“ da vide, glumce da rade više nego samo da glume. Ono ih izlaže i aleatoričnog materijalizma nad svim formalizmom. (Althusser 2 Za temeljitiju argumentaciju „double take” metode usp. Weber naknadnom promišljanju da, ipak, dijele to isto podrhtavanje i 2006, 191‒192) 2004, 295-312. isključenost. (Weber 2008, 113) Društvena koreografija: upotreba u... Društvena koreografija TkH 21 57 Društvena koreografija: upotreba u umetničkim praksama*

* Urednice časopisa TkH br. 21 su 9x9 i učesnici izvode svoje društvene i političke zamolile nekoliko evropskih autora iz oblasti društvena sklonosti, u vidu „javne ispovesti“, tako što savremenog plesa i izvedbe da odgovore, koreografija se okupljaju i obrazuju grupe. Društvena u pisanom obliku, na sledeća pitanja: koreografija mobiliše te grupe i izaziva spontane reakcije u pripremljenoj situaciji koja Koristite li termin „društvena koreografija“ Christine De SMeDT ● ● Termin proizvodi određenu društvenu organizaciju.2 u Vašem radu? Ako ga koristite, šta on „društvena koreografija“ upotrebljen je za Koreografska struktura se zasniva na nizu označava ili opisuje u Vašoj praksi i radovima? jednu od mnogih koreografskih struktura pitanja koja se postavljaju izvođačima i menja Da li je u bilo kakvom odnosu i ako jeste, u koje smo razvili u okviru projekta 9x9.1 Ova se shodno kontekstu i učesnicima. Pripremili kakvom i na koji način, s telesnim pokretom, „društvena koreografija“ nastoji da stvori smo zasebne spiskove pitanja za različite grupe javnim prostorom, zajednicom, (političkim) društvenu situaciju na pozornici u kojoj učesnika, starosti od tri do 81 godine i različitih mobilisanjem, ideologijom i izvedbom? profila; na primer, imali smo grupu fotografa, kao 1 9x9 je bio koreografski projekt koji je pokrenula Christine De i grupu roditelja s bebama. Pitanja su grupisana Smedt, a obuhvatao je izvedbe osmišljene sa još idealno 9x9=81 izvođačem. Pored De Smedt, u razvijanju osnovnih zamisli u tematske blokove, po temama kao što su projekta, učestvovali su i: Mårten Spångberg, Tino Sehgal, Lilia društveni odnosi, politika, ljubav, seksualna Mestre, Mette Edvardsen, Nuno Bizarro, Alexandra Bachzetsis iskustva, zabava, masovni mediji, privatno i i Steffan Eek. Kasnije, projektu su se u fazi realizacije pridružili: Maria-Clara Villa Lobos, Eva Meyer-Keller, Carlos Pez, Ivana Müller, društveno ponašanje, položaj u društvu itd. Vera Knolle, Palle Irvdal, Hellen Vervondel, Harold Henning, Izvođači na pitanja odgovaraju tako što se Gerd Van Looy (svetlo), Vincent Malstaf (zvuk) i Bruno Pocheron organizuju u odnosu na druge u prostoriji / na (svetlo). Projekt je u produkciji Les Ballets C. de la B. premijerno izveden septembra 2000. Do 2005, 15 različitih izvođenja je pozornici / u prostoru izvedbe. To prostorno napravljeno na različitim mestima, u raznim okruženjima i s organizovanje može da znači stajanje u vrsti u raznim skupinama ljudi: Pariz – zaposleni pri Centru Pompidou; određenom poretku u odnosu na postavljeno Gent (Belgija) – mladi stanovnici grada Genta, a još jedna verzija je izvedena u muzeju sa mladim pripadnicima (adolescentima) pitanje, obrazovanje skupina, istupanje napred sve tri savezne zajednice Belgije; Roterdam (Nizozemska) – bebe ili nazad, okretanje spreda ili pozadi itd. starosti 5‒12 meseci i jedan roditelj; Glazgov (Velika Britanija) – stanovnici starosti 1‒81 godine; Porto (Portugal) – stanovnici stariji od 50 godina; Berlin – dva izvođenja, jedno s profesionalnim 2 Po prvi put, društvena organizacija je razvijena u pozorištu izvođačima i drugo sa studentima; Amsterdam – s pevačima, u Schaubühne u Berlinu 2000, s profesionalnim izvođačima. U parku; Turnaut (Belgija) – građani iz raznih društveno-kulturnih umetničkoj ekipi koja je osmislila berlinsku izvedbu bili su Mårten udruženja; Montreal (Kanada) – s mladim ljudima od 15 do 25 Spångberg, Mette Edvardsen, Lilia Mestre, Tino Sehgal, Nuno godina starosti; Nant (Francuska) – stanovnici kraja i grada; Bizarro, Alexandra Bachzetsis, Steffan Eek, Maria Clara Villa- Teksel (Nizozemska) – grupa ostrvljana, na plaži; Beč – fizički Lobos, Gerd Van Looy (svetlo), Vincent Malstaff (zvuk) i Sylvia spremni građani i bivši plesači; Brisel – fotografi amateri. Hasenclever (kostim). 58 TkH 21 Društvena koreografija Grupa autora

Izvođačima su unapred objašnjeni okvir i pravila koreografije, ali pre početka izvedbe Plesati skupa oni nisu upoznati sa sadržajem pitanjâ. Na primer: × Svi u prostoriji koji žive s više od petoro Benjamin POhliG ● ● Odnedavno ljudi neka naprave jedan skup. me zaokuplja pojam plesanja skupa, zajedno × Svi u prostoriji koji žive sami neka naprave (dancing together). Umesto da to nazivam jedan skup. društvenim plesanjem, što sasvim dobro opisuje × Svi u prostoriji koji dele domaćinstvo neka praksu druženja plesanjem, u svom radu ja to naprave jedan skup. nazivam „društvenom koreografijom“. Želim × Svi u prostoriji koji žive s roditeljima neka da iskoristim ovu priliku da objasnim, možda naprave jedan skup. i samom sebi, zašto sam svoju praksu počeo × Svi u prostoriji koji su članovi nekog da smatram „društvenom koreografijom“ a ne udruženja ili kluba neka naprave jedan skup. nečim drugim. Kao što sam već pomenuo, mene zanima plesanje skupa, što u mojoj izvođačkoj U početku smo ovu propoziciju koreografije praksi znači pozivanje publike da mi se pridruži zvali „društveno organizovanje“ ali smo se onda u kolektivnom plesanju, koje ja pokušavam da opredelili za pojam društvene koreografije, da vodim rečima kao i sopstvenim telom. Za mene, bismo identifikovali koreografsku vrednost plesanje skupa se podjednako tiče toga kako se ponašanja ljudi u različim kontekstima. okupljamo da bismo odigravali naše zajednice, Iako smo termin „društvena koreografija“ koliko i igranja i izražavanja ideološkog okvira koristili za posebnu koreografsku strukturu, koji je zajednici potreban da bi opstala. Tu je reč 9x9 se ticao društvene koreografije i u širem ☐ 9x9, Turnaut (Belgija), 2002. (pozivnica) o praktikovanju zajednice, kao čina i ideologije. smislu. Konceptualno, projekt 9x9 je započeo Ovde zajednicu razumem u osnovnom smislu, istraživanjem šta označavaju mase, velike procesa razmišljanja, šta je materijal, šta koreografija prvo i pre svega kao skup telâ koja opažaju da su dimenzije, okupljanja svih vrsta, klupska znači u smislu vremena, prostora, interakcije i iz kojih zajedno. Ali primeri toga su skoro svuda. Ultraši, kultura, demonstracije, masovne koreografije, izvora joj dozvoljavamo da se napaja na sceni. [...] dobro organizovani i ekstremistički fudbalski sportske priredbe i procesije kada se posmatraju Projekt 9x9 se predstavlja u velikom ospegu okvira navijači, sjajan su primer. Međutim, u svojoj i razumeju kao koreografija. Od 2000. do 2005, koji, međutim, svi funkcionišu kao javni prostori, izvođačkoj praksi, želim da gledaoci iskuse i napravili smo 15 različitih izvedbi zasnovanih na taj način tvoreći određene vrste individualnog dožive potencijal bivanja zajedno bez napuštanja na koreografskim načelima kadrim da proizvedu kao i skupnog i masovnog ponašanja. [...] vlastite individualnosti. To iskustvo se tiče tela situacije u kojima su društveni odnosi deo Važno je da izbor učesnika u svakoj situaciji bude i telâ u interakciji. Telo je naše utopijsko jezgro, samog predmeta rada: kako upravljati određen kontekstom. U Tramwayu, muzeju/pozorištu iz njega mi krećemo u svet i u interakciju s njim, skupom ljudi u različitim kontekstima, kako u Glazgovu, bilo je važno naglasiti da je Tramway usuđujući se da ga menjamo na bolje. U odnosu ga organizovati, kako se on sam organizuje. otvoren za svakoga u Glazgovu i da načinâ da se bude na druga tela, mi nalazimo sopstvene granice i Ovde želim da citiram neke delove teksta u muzeju ima koliko ima i pojedinačnih posetilaca. potencijalnosti. Kao plesni stvaralac koga se tiče Mårtena Spångberga,3 napisanog 2003: Zato smo radili sa učesnicima svih godišta od 1918. telo, u koreografiji sam počeo da kombinujem do 2001, po jednim za svaku godinu. U Portu, da telo s glasom, da bih se bavio zajednicom i 9x9 je projekt u kojem se konvencije stvaranja bismo naglasili uslove kulturnog kapitala, odlučili utopijskim potencijalom bivanja skupa. i prepoznavanja jedne plesne izvedbe ispituju smo da pozovemo društvenu grupu koja je nosilac Pre nego što se vratim na gore izneta pitanja, jednostavno njegovom veličinom, možda i kulturnog mita i sećanja. Najmlađi učesnici imali su 55 u vezi sa onime što ja podrazumevam pod nemogućnošću. Tri osnovna pitanja postaju oblik: godina – a najstariji daleko više od 85. U Roterdamu, „društvenom koreografijom“, napraviću kratku telo kao masa i kako ispitati hijerarhije tela kao domaćin se zanimao za kulturalnu višestrukost. digresiju, da bih objasnio zašto svoju praksu pojedinačnog i u saradnji s drugim telima različitih Umesto da prikažemo ljude svih boja, mi smo ne smatram „participativnom umetnošću“ veličina, starosti, klasne i rodne pripadnosti itd; pozvali bebe (5–11 meseci starosti) da dovedu svoje (participatory art). To je nešto što se, rekao bih, masovna koreografija sa svim svojim aspektima, roditelje odakle god da dolaze i tako smo dvostruko u velikoj meri razlikuje od onoga što „društvena od muzičke koreografije do parada, od nasumičnih predstavili šta znači živeti, biti rođen i okupiti se koreografija“ podrazumeva. Na prvom mestu, po koreografija kao što su koreografije grada, do u Roterdamu, u smislu stvaranja identiteta. [...] mom uverenju, sva umetnost je participativna. krajnje strogih organizacija kao što su matematičke; Taj odnos između dela i njegovog primaoca pop i masovna kultura u smislu istraživanja koje Takođe, 9x9 je i društveni događaj, okupljanje je uvek nešto između, što zahteva saradnju. koreografske strategije koriste te kulturne sfere i ljudi raznih društvenih profila, starosti, Značenje neke slike se uvek gradi u dijalogu s šta globalizacija, novi mediji itd. znače za promene gradskih konfiguracija, ali na prvom mestu, to posmatračem. Isto tako, izvedba se ispoljava kroz ili njihov izostanak kod manjinskih koreografija, je projekt u kojem svaki učesnik stvara vlastito odnos izvođača i publike. Shodno tome, nalazim koregrafija visoke umetnosti itd. Motivacija društveno polje vezâ i dozvoljeno mu je da, da je nepotrebno tvrditi da je moja ili bilo čija istraživanja za 9x9 nije bila stvaranje jednog linearnog na osnovu sopstvenih motivacija, propituje umetnost participativna, pošto publika uvek- materijala (predstave) već ulaganje u mnogostrukost i jača svoj identitet, sliku o sebi, društvene već učestvuje u proizvodnji njenog značenja. i u procesu – stvaranje biblioteke u kojoj bi svaka i sve sposobnosti i fizičku otvorenost. Za 9x9, važno Međutim, istina je i da moja izvođačka praksa zamisli bilo koje vrste imale svoje mesto. Način rada je da dozvoli sve vrste društvene interakcije ne bi uspela ako niko iz publike ne bi želeo da koji takođe insistira na pronalaženju drugih vidova s najmanje moguće ograničenjâ i didaktičkih uzme učešća u kolektivnom plesu. S druge strane, ciljeva. Projekt 9x9 nudi radikalnu solidarnost ja bih je smatrao i potpunim neuspehom ako bi svi 3 Tekst je napisan u sklopu prijave za sredstva, da bi se projekt svih svojih učesnika, ne insistirajući na jednom želeli da se pridruže. Zapravo, moj predlog publici nastavio i objavila knjiga o procesu nastanka projekta 9x9. ili drugom, već na svakom ponaosob. ■ je da odluči, da se pridruži ili da se ne pridruži. Ako Društvena koreografija: upotreba u... Društvena koreografija TkH 21 59

biti upravljan. Takvu radnju ponekad ispratim rečenicom poput: „Imajte na umu to da nijednu odluku ne donosi samo pojedinac, kao što nijednu odluku ne donosi samo kolektiv“. To je pokušaj vizuelizovanja odigravanja ideologije telima i odigravanja telâ ideologijom. Za sada, izvođač govori za zajednicu i o njoj. Dugoročno, vidim potrebu za razvijanjem izvođačke prakse koja će dati glasa i zajednici, da bi naglasila egalitarne namere kooperativnih igara koje zajedno plešemo. Ali, ključnom mi se čini upotreba glasa, jer, zapravo, mislim da su sve koreografije telesna odigravanja ideologije, izražene jezikom. Čak bih otišao tako daleko i rekao da je jezik ideologija, koju telo odigrava pomoću glasa. Ne mislim da je jezik, jednostavno, sredstvo izražavanja ideologije, već da ideologija oblikuje sam jezik. Prema tome, za društvenu koreografiju kao čin kritičke analize, važno je ne samo da odigrava zajednicu plesanjem skupa, nego i da u isti mah izražava, glasom, jezik i ideologiju koju odigrava. Jezik je mesto gde se konkretnost telâ, usvojimo to da izvedbu obično čini odnos izvođača ☐ Dance Yourself Clean, izvedba, Benjamin Pohlig; foto: posredstvom glasa, sastaje s predstavljačkim i publike, nadam se da moj predlog dodaje i treću Tomas Mutsaers poljem politike. To je izraz zajednice telâ, kategoriju – kategoriju onog između, dijaloga njenog odigranog narativa i čini se važnim da između dela i posmatrača, publike koja izvodi. pojava. U stvari, svi tipovi odigravanja zajednice, saslušamo šta taj glas ima da kaže o sebi. Publike koja izvodi, ne publike koja učestvuje. bilo plesanje zajedno ili složeniji momenti U knjizi Ustanak (The Uprising), Bifo opisuje To drugo se ionako podrazumeva. Međutim, ta bavljenja politikom, zahtevaju neku koreografiju. savremeni finansijski kapitalizam kao semio- kategorija može postojati samo ako se zadrže Zasedanje parlamenta zahteva istu količinu kapitalizam, u kojem je jezik novca dostigao odvojenim uloge izvođača i publike ili čak donekle upravljanja i regulisanja protoka telâ koliko i razinu apstrakcije koja mu omogućava i utvrde. Višestruko ponavljanje poziva ohrabruje jedna generalna skupština pokreta Okupiraj. Čak proizvodnju vrednosti pomoću same vrednosti, publiku da uzme učešća u izvedbi, da izvede je i šetnja po tržnom centru jedna visoko uređena bez ikakve veze s materijalnim dobrima. rad sa mnom. Ali, izvedbu u svakom trenutku koreografija telâ unutar jednog arhitektonskog Neoliberalizam je ideološki glas semio- i dalje vodi izvođač, čak i ako je odgovornost dispozitiva. Zapravo, to je brižljivo satkana kapitalizma, koji proizvodi narativ za narativom, podeljena, a neuspeh istinska mogućnost. Publika mreža intersubjektivnih odnosa i raspodele ne bi li opravdao surovu regulaciju društvenog izvodi, ali ne preuzima ulogu izvođača. U svakom delovanja, ali ti režimi nisu uvek vidljivi, kao ni tela, kako bi ono preko tržišta moglo da bude trenutku, izvođač se, čak i ako usput mora da njima svojstvene ideologije. U koreografiji uvek prisvojeno. Padom državnog komunizma u ga podešava, pridržava načelnog plana izvedbe postoji neko telo, kao što i u politici uvek postoji Evropi, čini mi se kao da smo izgubili najjači i u tom smislu je, za razliku od publike, upućen. neka koreografija. Društvena koreografija je stoga glas društvenog tela koje je izvodilo otpor glasu Međutim, publika je u stanju da iskusi izvođenje koreografija skupnosti togetherness( ), vidljivo neoliberalizma. Za državnim komunizmom ne kao takvo samo zato što je za to vreme posmatra odigravanje zajednice. To je sredstvo za kritičku treba žaliti, ali vakuum koji je tako nastao, ostatak publike (koji je odlučio da ne izvodi). Ti analizu svih koreografija jedne zajednice. To odsustvo drugačijeg glasa, glasa koji bi mogao da gledaoci, koji su odlučili da se ne pridruže, da ne sredstvo u samo jednom trenutku odigravanja se nametne kao emancipatorsko i utopijsko telo, izvode, ipak učestvuju kao posmatrači, znajući zajednice može da učini vidljivim funkcionisanje meni izgleda zastrašujuće, u trenutku kada još da su isto tako mogli da odluče i suprotno. Ono društvenoga, njegovih međuodnosa i raspodele nismo u punoj meri sagledali sav gubitak koji će što je ključno u plesanju skupa nije učestvovanje sposobnosti delovanja. Zato, vrsta zajedničkog koreografija kapitalizma naneti društvenom telu. kao takvo, već doživljaj propustljivosti koji plesanja koja mene zanima se, za razliku od Svoj rad nazivam društvenom koreografijom nastaje u odlučivanju, podelom odgovornosti društvenog plesanja, ne tiče druženja da bi se zato što ga vidim kao sredstvo analize i podrškom međusobnim iskustvima u raznim bilo skupa, već upotrebe telâ da bi se učinilo koreografija i ideologija odigravanja zajednice. ulogama. Umetnost, ne kao pojedinačno iskustvo vidljivim odigravanje (enactment) same zajednice. On podvlači značaj telâ u politici i usredsređen ili iskustvo pojedinca, već kao kolektivno U mojoj izvođačkoj praksi, kolektivne plesove je na ideološki glas svake zajednice telâ. Ali kao iskustvo unutar nekog odnosa. Iskustvo same izvođač vodi rečima koliko i telom. Ne samo što oruđe, smatrao bih ga beskorisnim, ako se ne međuzavisnosti, čak. Za mene, prvi korak u predlažem razne igrice, već i kao pripovedač, bismo usuđivali da ga koristimo naivno, ističući ubacivanju vlastitog tela u neki odnos i iskustvo pokušavam da uokvirim iskustvo zajedničkog njegovu sposobnost da raspodelu sposobnosti nije u činu učestvovanja, već izvršavanja jednog plesanja tako što povezujem zadatak svake delovanja čini vidljivom i omogućava nam da pojednostavljenog oblika delovanja (agency). igre s nekim oblikom bivanja skupa. Na primer, vršimo i odigravamo zajedništvo kao konkretan No, šta to znači za „društvenu koreografiju“? postavljeni u krug, igramo se kopiranja pokreta, i radikalan oblik društvenog utopizma, koji nam Ja samu koreografiju razumem kao režim koji gde svi učesnici dobijaju priliku da predlože neki je, po mom mišljenju, preko potreban. ■ uređuje odnose telâ u vremenu i prostoru. Mislim pokret koji će onda cela grupa ponoviti. Kao da nam to omogućava da paradigmu proširimo pojednostavljen oblik delovanja, tu svi mogu da na mnoge društvene pojave i razumemo ulogu iskuse šta znači biti pod uticajem drugih tela i telâ i njihovog delovanja u odigravanju tih svojim telom uticati na druga tela, upravljati i 60 TkH 21 Društvena koreografija Grupa autora

Kako oblikujemo drustveno tijelo

Saša asentić ● ● Ovo je samo jedan moguć izbor odrednica, koji pokazuje kako sam u svom radu poslednjih sedam godina pristupao odnosu između pojedinca i društva i ko su bili neki od glavnih uticaja koji su mi pomogli da analiziram taj odnos i promišljam ga u smislu društvene koreografije. Odrednice su navedene hronološki.

U članku Ane Vujanović „Not Quite-Not Right Eastern Western Dance“ (Ne sasvim zapadna, ne baš istočna plesna scena) – koji sam pročitao 2007 – piše:

[…] ples, a to važi i za savremeni, nije emancipatorska praksa oslobođena ideologije, već tehnološko oruđe za oblikovanje individualnog tela kao društvenog tela. Tek odavde, možemo Međutim, ovaj poredak se raspao u poslednjem ☐ Moja privatna bio-politika, Saša Asentić; foto: Dieter Hartwig krenuti u razmatranje kvalitativnih razlika sletu (1988), u kojem je učestvovala Sonja u namerama i ciljevima tog sredstva, kao Vukićević, a koja je o tome rekla: u širu društvenu sferu gde bi se u masovnijem i pokušaja otpora dominantnoj ideologiji obliku preispitivali uslovi rada u koreografiji određenih konteksta. (Vujanović 2007) [...] to suštinski zatvara poslednji 25. maj, ali i samo pitanje šta se našim radom izvodi. Dan mladosti. Ne znam ko je to odlučio, da Takvu vrstu umetničkog (privremenog) Ovo me je navelo na razmišljanje o tome ne budu ni vojska, ni deca, ni razne ne-znam- samoukidanja ilustruje ovaj paragraf: kako su nefunkcionalni savremeni ples i šta, i odlučili su da naprave pravu pozorišnu utilitarni „slet“ zapravo bliski po pitanju predstavu na stadionu, sa kružnom scenom. [...] Ovde, zajedno s mojim kolegama, želeo bih društvene efikasnosti, te da ih zato ne I tu su zajedno sa mnom, potpuno moderno, da otvorim pukotinu kroz koju ćemo privremeno možemo posmatrati ili porediti odvojeno igrali 4.500 dečaka i 4.500 devojčica. Prvo bi pobeći iz originalne verzije ovog performansa, od konkretnog društvenog konteksta. igrali oni, pa bih ja utrčala na scenu i odigrala bih i kao rada u nastajanju [work-in-progress] i Intervjui sa Dubravkom Maletić i Sonjom adagio, imala sam partnera, pa onda opet oni, kao rada u nestajanju [work-in-regress]. Vukićević, koje smo Ana Vujanović i ja uradili pa iz šume izlaze devojke, pa se donosi ogroman Iza te pukotine, postoji i treća faza, u kojoj možete u okviru projekta Tigrov skok u istoriju, bili krug zemlje, pa tu igram Bolero, a oni su bili svi naći Moju privatnu bio-politiku kao i ceo projekt su ključni za moje dalje promišljanje odnosa oko mene. Jedna stvarno ogromna koreografija. Indigo ples ne kao umetničke radove, „dela“, već kao plesa i društva. O plesačima kao jednim od Titova fotografija je bila sa leve strane i to su diskurzivnu platformu. Ta platforma je zamišljena kao graditelja društva, Dubravka Maletić kaže: zamerili strašno. Desila se greška između dece koja umetničko sredstvo ili metodološki alat koji želimo su učestvovala, nisu se spojili na vreme i onda se da podelimo sa umetnicima iz polja savremenog plesa U to vreme svi smo mi bili uglavnom stvorilo veliko „U“, a već se tada klimala država, već i izvedbe koji žele da promišljaju svoje kontekste i entuzijasti, radili smo besplatno jer smo imali tu tada se naslućivalo da nešto nije u redu. Tako da su javni rad. Kao i sa svima koji žele da govore o strukturi jednu strahovitu želju da pomognemo našem sve novine objavile da je to namerno napravljeno. globalnog sveta savremenog plesa i izvedbe. društvu da što pre ostvari te visoke ciljeve. (Vukićević, u: Asentić i Vujanović 2006–2010.) Stoga vas molim da ovaj performans shvatite Naši nastupi, naš rad i naš život su bili tako tek kao moguću vlastitu demonstraciju ili puni tog entuzijazma, svi naši nastupi su bili Da se vratim na savremeni ples. Ove aktuelizaciju i kao deo jedne otvorene istraživačke podjednako važni – i kada smo nastupali u fabrici, reference su me navele na razmišljanje o platforme koja obuhvata i razgovore, metodološke i na ulici, i na fudbalskom stadionu i Narodnom tome da li i kako savremeni ples može prestati igre, rasprave itd. (Asentić i Vujanović 2013.) pozorištu. Znate, to je sve bilo jednako važno. jedino da reprodukuje postojeće društvene Mi smo na taj način osećali da gradimo naše koreografije i reprezentuje ih na sceni i da Potvrdu za ovu veru u potencijal umetnosti društvo, kao umetnički graditelji. Gradeći zemlju, li i kako može on postati mesto gde se one našao sam u intervjuu „Choreography Is a mi smo gradili sebe. Svi smo bili u tom kolu preispituju ili se u njih interveniše. Naročito Way of Thinking about the Relationship of zajedništva i to je bilo jedno jako lepo vreme. u tom svetlu, kopiranje „poznatih“ plesnih Aesthetics to Politics“ (Koreografija je način Stići do modernog baleta je bio vrhunski cilj. taktika sa „internacionalne scene“ nema razmišljanja o odnosima estetile i politike), koji Ples, slobodna igra, umetnički ples, moderan balet smisla, jer se njihovim kopiranjem kopira i je Goran Sergej Pristaš uradio sa Andrewom – nudili su mnogo više mogućnosti; mogao je da prenosi i čitava njihova društvena koreografija, Hewittom, a gde sam se prvi put i susreo ih izvodi svako, svako ko je nosio želju za igrom, što u isto vreme prolazi neprimećeno. sa pojmom „društvena koreografija“: bilo u spletu mase tih igrača, bilo u nekoj grupi Zato sam problemu kopiranja posvetio ceo igrača ili na stadionu ili na nekoj maloj pozorišnoj rad Moja privatna bio-politika, da bih na kraju Andrew Hewitt: Moja metodologija „društvene sceni ili sceni kulturno-umetničkog društva. takođe odlučio da u njega uvedem „pukotinu“ koreografije“ zasniva se na pokušaju da estetsko (Maletić, u: Asentić i Vujanović 2006-2010.) za izlazak izvan pojedinačnog umetničkog rada promišljam u njegovom operisanju u samim temeljima Društvena koreografija: upotreba u... Društvena koreografija TkH 21 61 društvenog iskustva. Pojam društvene koreografije ukida procese marginalizacije ili ih svodi na stalno reaktuelizuje i ne ostane „verna“ koristim da bih označio tradiciju razmišljanja o minimum, ne meri sve jednim parametrom, niti prethodnom poretku koji bi mogao da društvenom poretku koja svoj ideal crpi iz estetskog primenjuje iste norme na sve ljude, nego polazeći postane dekret i kanon. Nužno je da se ona područja i nastoji da taj poredak usadi neposredno na od specifičnosti tih konkretnih ljudi otvara reaktuelizuje jer su u pitanju uvek drugi ljudi razini tela. U svom najeksplicitnijem obliku, ta tradicija mogućnost formiranja društvene zajednice. u drugačijem stanju i novim odnosima. prati dinamične koreografske konfiguracije koje u Performans Communitas na ispitu je hibridni Bojana Cvejić i Ana Vujanović u knjizi Public plesu nastaju i nastoji da ih primeni na širu društvenu javni događaj između pozorišne predstave, Sphere by Performance (Javna sfera kroz izvedbu) i političku sferu. U skladu s tim, takve društvene koreografije, društvene igre i hepeninga. Izvodi kažu: koreografije pripisuju temeljnu ulogu estetskome u se u pozorištu, reafirmišući njegovu ulogu u njegovom poimanju političkoga. (Pristaš 2007, 38–43) simbolizaciji društvenog. Međutim, scena ovde […] u društvenoj koreografiji se mogu izdvojiti tri postaje mesto u javnom prostoru gde građani operacije kojima se ona može pretvoriti od normativne Potvrdu mi je pružio naročito deo gde raspravljaju o bitnim društvenim pitanjima i prakse kao pojave u jedan kritički model. Prva Hewitt kaže da je estetski domen (ples kao promišljaju moguću budućnost društva. Izvedba operacija je prepoznavanje regulatornih postupaka umetnost) upravo ideal po kojem se oblikuje se zasniva na principima društvenih igara, koji društvenu koreografiju čine normativnom. Druga društveno telo. Pomislio sam da je to odlično, otvorenih za učešće svih članova publike. operacija je deregulacija, kojom se proceduralno jer ako smo ideal, onda i treba da to iskoristimo, znanje društvene koreografije instrumentalizuje ispitujemo, eskperimentišemo i možda Publika je pozvana da kreira nekoliko za neki drugi cilj ili proces. [...] Treća operacija postanemo ideal nekog budućeg društva. fikcionalnih situacija, razvijajući i transformišući je intervencija, prekid postupaka i propisivanje Pozorište me zanima kao mesto gde se ponuđene sižee, koji se odnose na goruća (prescription) koje obuhvata izravnu i hitnu primenu različiti društveni odnosi mogu vežbati, ali društveno-politička pitanja određenog konteksta. načela umesto postupka. (Cvejić i Vujanović 2012, 75) i privremeno uspostaviti u odnosu na ideal Te priče i socijalna koreografija su privremene, budućeg društva. Takvo društvo ne postoji promenljive i umnogome zavise od učesnika, A ja bih završio time da je za mene ključno da zagarantovano u budućnosti, nego mora odnosno same publike, čime svaka izvedba postaje je ovaj proces neprekidan i da ne sme da se završi danas da se pravi, a njegov obim nije merilo jedinstven događaj (epizoda) u okviru otvorene na trećoj tački. Možda u tom smislu za mene i ne njegovog uspeha i relevantnosti – tako serije čiji se rezultati ne mogu predvideti. Ovako postoji idealna društvena koreografija, nego je naprosto moramo delovati i dovoljno je početi postavljen, Communitas na ispitu je pozorišna priča idealna ona koja ili ne dozvoljava normativizaciju sada kako bi se imao kontinuitet. Društvena koju pričamo o nama, sami sebi i koreografski spektakl ili čim se novi principi normativizuju, otvara koreografija koju zamišljam i sprovodim, kako koji stvaramo ni za čiji pogled. (Vujanović 2012) mogućnost ponovnog preispitivanja. ■ u radu sa osobama sa invaliditetom tako i u autorskim umjetničkim projektima, kao što je Za formiranje takve zajednice, odnosno ☐ Communitas na ispitu, Ana Vujanović i Saša Asentić; foto: i Communitas na ispitu, isprobava društvo koje da bi ona ostala živa potrebno je da se ona Nataša Murge Savić 62 TkH 21 Društvena koreografija Grupa autora

navedena dela: Ipak, iz toga ne proizlazi da ništa nije asentić, Saša i vujanović, Ana, Tigrov skok u istoriju isplanirano ili da se ništa neće desiti. (evakuisana genealogija), 2006–2010, http://www.perart.org/ Meka koreografija savremeni-ples/tigrov-skok-u-istoriju/ (31. oktobar 2013.) Umesto toga, u mekoj koreografiji, cilj je asentić, Saša i vujanović, Ana, „MY PRIVATE BIO- stvoriti uslove da do susretâ dođe. POLITICS: A Performance on the Paper Floor (Third phase)“, u Mette inGvArTSen ● ● Kažem Mekoća koreografije se odnosi ne samo Stefan Hölscher i Philipp Schulte (ur.), Dance, Politics, and Co- Immunity: Current Perspectives on Politics and Communities in the „meka“ jer ne želim da kažem „društvena“. Ali na telesni pokret ljudi, već i na organizaciju Arts, diaphanes, Cirih – Berlin, 2013, str. 233–249 ono na šta zaista mislim je jedan drugačiji vid prostora, organizaciju skupa ljudi u prostoru i vujanović, Ana, On Trial Together, 2012, http://www.tkh- organizovanja izvedbe, koji ne bi počivao na njihovog ponašanja. Mekoća ima neko ubedljivo generator.net/portfolio/on-trial-together/ (31. oktobar 2013.) jasnoj podeli na izvođače i gledaoce, pozornicu svojstvo. Nosi jedan zavodnički ali ne i seksualan Cvejić, Bojana i vujanović, Ana, Public Sphere by Performance, b_books, Berlin – Les Laboratoires d’Aubervilliers, i gledalište, susret i konstruisan događaj. prizvuk, pošto je zavođenje deo kolektiva, čiji Pariz, 2012. Meka koreografija je suprotnost pripadnici dele određeno vreme i mesto, da Pristaš, Goran Sergej, „Andrew Hewitt: Choreography is a way tvrde koreografije. bi zajedno nešto izgradili. Danas je zamisao of thinking the relationship of aesthetics to politics“, Frakcija br. 42, 2007, str. 44–50 Tvrda koreografija znači: koreografija kolektivnog tela utopijska zamisao. To je ideja vujanović, Ana, „Not Quite-Not Right Eastern Western zapisana do najmanjih tančina, bez mnogo koju naše individualističko društvo neprestano Dance“, 2007, http://www.anavujanovic.info/#!/2011/11/not- prostora za odstupanje. Izvedba koja ide pokušava da poremeti, onemogućavajući svaki quite-not-right-eastern-western-dance-on-the-contemporary- dance-scene-in-serbia/ (31. oktobar 2013.) sama od sebe. Ne menja se kada neko vid kolektivne mobilizacije i otpora. Nasuprot toj ustane i ode, niti se produžava samo zato tendenciji, meka koreografija okuplja jedan skup što ljudi to žele. Zadržava svoju autonomiju, ljudi, na jedan kratak, ali dragocen trenutak. predmetnost (object-hood) i slabo šta može Prostor raste kada je nepodeljen, kada je da je promeni. Može se izvoditi i bez gledalaca kruženje u prostoriji otvoreno, kada su ljudi i njen zapis se ne menja bez obzira na to slobodni da se organizuju kako žele. Važno je da da li je iko gleda ili ne. (Kada takve izvedbe prostor može da se menja. Da nema samo jednu uspeju, obično se nazivaju remek-delima.) konfiguraciju, već da se u njemu mogu ostvariti S druge strane, meka koreografija je ona i drugi potencijali. To znači omogućavanje koja bez publike ne može da postoji. To je ljudima da menjaju svoje aktivnosti a da zaista izvedba koja se realizuje u odnosu na posebne ne primete kada iz jednog stanja pređu u drugo. želje posebne skupine ljudi u neko određeno Um mekša kada različiti vidovi bića počnu da se vreme. To je rizična izvedba, koja bi mogla mešaju. Kada se kritičko promišljanje rastvori u ☐ Daghdha Brunch, Daghdha Dance Company, 2007; foto: Conor i da se ne desi. To je krhka situacija koja od lelujav osećaj zadovoljstva i onda se vrati, daleko Buckley publike traži da podeli odgovornost za nju. oštrije i jasnije. Kada mentalna misao postane Društvena koreografija: upotreba u... Društvena koreografija TkH 21 63

pokret ili ton. Kada se ton pretvori u melodiju U mojoj koreografskoj praksi, taj termin je i postane usmena priča ili žustra rasprava. ekologija umova evoluirao i usled toga obuhvatio i svoja ranija „Interaktivno“, „kolaborativno“ i značenja: od jednostavnog prenošenja nečijeg „participativno“, samo su neke od reči koreografskog načina na veće platno (npr. korišćenih za ovaj tip pozorišta. „Demokratsko“ Michael Kliën ● ● ...bavljenje koreografisanje građana) do prakse svesne je još jedna. I mada se medij plesa poslednjih društvom sa osetljivošću umetnika, pesnika, svog upisanog društveno-političkog načina godina vraća takvim pojmovima, obnavljajući plesača i pri tom gajenje jednog ekološkog, prema rada (tj. koje društvene strukture zaista utopije iz prošlosti (iz 60ih i 70ih), vreme tome i održivijeg (sustainable), društvenog tkiva... uvežbavamo kada sa bavimo koreografijom?), je da opet pokušamo. Zbog previše tvrdoće U mom radu, društvena koreografija je po do prakse koja neposredno utiče na društvene na polju koreografije (a i u mom radu), prvi put došla do izražaja kada sam sarađivao stvarnosti, interakcije i politička shvatanja, hitno se moramo setiti i drugih načina s dramaturgom Steveom Valkom pri Ballett uvođenjem otelovljenog znanja i „sisarske da budemo zajedno u pozorištu. ■ Frankfurtu (2001‒2002), a potom je činila jednu mudrosti“ u vidove svakodnevne organizacije. od glavnih tema u mom umetničkom vođenju U mojim radovima, poput Sediments of an Plesne trupe „Daghdha“ u Limeriku, Irska Ordinary Mind (Naslage običnog uma; Kliën (2003‒2011). Taj pojam oblikuje moj rad već 2004), plesači su pozvani da kultivišu svoju preko deset godina i postaje jasniji u svakom pojedinačnu slobodu/fleksibilnost kao telo narednom razgovoru i praktičnoj primeni. mišljeno u pokretu, dok se istovremeno bore ...traženje istine... Društvena koreografija i preuzimaju odgovornost za najveću moguću nastoji da opazi skrivene koreografije stabilnost kolektiva (podržavajući kretanje ljudi, ...prazna ploča (the empty slate)... drugih, nudeći prostor, vreme, pažnju, učeći itd). i podrži, otelovljenim znanjem, ulazak Tokom nekoliko nedelja, taj proces se odvija bez institucionalizovanog znanja u ples ...ekologija obzira na jezik ili vladajuće racionalne strukture, umova... da bi omogućila društveno preobražajne pronicljivo svestan položaja svih članova procese. Ona nastoji da otključa društveni kolektiva, oslanjajući se pre na otelovljeno potencijal i društvenu fikciju da bi izazvala znanje nego na autoritaran glas sa unutarnjim promenu i promovisala duševno zdravlje. (intrinsic) očekivanjima kada, gde i kako se ...društveni poredak u nastajanju... Društvena treba kretati. Ponekad, svoj koreografski rad koreografija pruža kontinuiran praktični diskurs opisujem kao okruženje za kolektivno učenje o ulozi estetike u (gajenju) civilnih dužnosti gde se jedna dijaloška i tečna koreografija ☐ Koreografija za Blackboards, 2010; foto: Christina Gangos (citizenship) i upravljanja (governance). (ne unapred fiksirana u prostoru ili vremenu, 64 TkH 21 Društvena koreografija Grupa autora nego privremeno održavana pomoću prećutnih iskustveno znanje ● Društvena društvenih dogovora) može nataložiti i razviti. Društvena koreografija svakako jeste pojam koji koristim Ovaj kontinuirani diskurs, preobražajan proces koreografija: u svom radu. Decembra 2012, uz podršku i učenja, nalazi se u srži mog rada. Urođeni odnosni disciplina u saradnju dugogodišnje mreže transdisciplinarnih modaliteti ovih plesova u sazvučju tvore neka od evoluciji ka teoretičara, kulturnih radnika, partnera iz načela uređivanja prostora probanja i izvođenja kulturnoj praksi lokalne zajednice i prijatelja na lokalnoj, (prateći slična samoorganizaciona načela), regionalnoj i međunarodnoj razini, osnovao sam kao što i odzvanjaju u opštim upravljačkim prvi Institut za društvenu koreografiju, ovde strukturama organizacije, kojima pojedinci Steve valk ● ● Stara predstava u Frankfurtu (Nemačka). Razlozi za osnivanje primenjuju svoja otelovljena iskustva u odnosima o ćeliji kao vreći punoj belančevina i raznih takve ustanove bili su brojni i višeslojni. Prvo, s drugima. Zato društvenu koreografiju vidim drugih dobrih stvari zamenjena je savremenim to je potreba da se odredi i učini dostupnim i kao povratan luk koji se proteže od telesnog viđenjem ćelije i njene složene unutrašnje raspoloživim jedno polje u nastajanju, polje diskursa do društvene organizacije, luk svesnih strukture pre nalik na strukturu nekog grada hitno značajnog društveno-kulturnog delovanja. i nesvesnih vidova uređivanja, koji se proteže nego na strukturu vreće brašna [...] Drugo, bilo je važno ustanoviti jedno „zvanično“ u odnosne i stoga institucionalne strukture. Ali tačka na kojoj prava srž ove priče počinje društveno telo koje će moći da govori, obraća U Plesnoj trupi „Daghdha“ (Kliën 2010), iskusio da biva jasnijom je kada otkrijemo da upravo to se i na taj način vrši preobražajno dejstvo sam rast heterotopijskih društvenih stvarnosti zamrzavanje hemijskog sastava ćelije uspostavlja na formalizovano polje društveno-političkih kolektivnim prenošenjem osetljivostî plesa i sasvim novu vrstu slobode, koju ja nazivam odnosa. U svom svakodnevnom radu, Institut plesanja u institucionalne okvire. U Daghdhi, semiotičkom slobodom. Jer, čak je i jednoćelijski za društvenu koreografiju se specijalizuje za činilo se kao da se one izražavaju kroz neobičan organizam znao za jedan mali trik, veoma dubinska istraživanja u dramaturgiji, razvoj novih stepen otvorenosti ka drugosti i pojedincima delotvoran u ublažavanju rasta predvidljivosti. Bio kulturnih formata i saradničkih mreža, kao i koji otvorenije govore, istovremeno crpeći je kadar da se opiše – ili barem da opiše ključne praksi društvene koreografije kao niza metoda za društvenu toplinu i potencijal. Ambiciozne aspekte sebe – u apstraktnoj šifri ugrađenoj u otkrivanje i ispoljavanje alternativnih obrazaca veličine, taj rad je velikom broju ljudi pružio niz baza molekula DNK. Delovi tog šifrovanog u ekologiji našeg kolektivnog iskustva. Partneri drugačiji društveni kontekst, opipljiv u načinu samoopisa su se zatim mogli kopirati, ponekad projekta su razni, od svih vrsta organizacija na koji su živeli i radili: plod rada društvene pogrešno, i razmenjivati s drugim članovima socijalnog rada, preko verskih organizacija, koreografije. Stoga, društvena koreografija sada iste vrste – ili čak, ponekad, s članovima škola, fondacija, univerziteta umetnosti, označava jednu holističku somatsku praksu drugih vrsta. Tako je pokrenut beskrajni sled izvedbe i dizajna, kreativnih agencija, pokreta koja stvaranju društvenih situacija i nastanku „grešaka“ i „nesporazuma“ koji je oblike života Okupiraj, lokalnih i međunarodnih inicijativa struktura i poredaka donosi jednu duboku telesnu na Zemlji doveo u stalno stanje previranja, u kulturi, muzejâ, odsekâ za ples, do vladinih svest. Ona označava jednu politiku ukorenjenu sled koji nazivamo organskom evolucijom. agencija. Prevashodni cilj je širenje, uvećavanje u nepoznatom umesto u poznatom, na pupku Jesper Hoffmeyer, Znakovi značenja u i uključivanje iskustvenog znanja, koje nastaje svih snova, s vizijom gajenja jednog ekološkijeg svemiru (Signs of Meaning in the Universe) u vizuelnim i izvođačkim umetnostima, i etičkijeg „bivanja sa“ i bivanja skupa. ■ u sve aspekte građanskog i kulturnog Iz rastuće svesti o sve širem jazu između života. Performativno eksperimentisanje navedena dela: „načina na koji čovek misli i načina na koji priroda je glavno metodološko načelo projekta. Kliën, Michael, Sediments of an Ordinary Mind, koreografija, radi“, koreografija, tradicionalno shvatana kao 2004, http://vimeo.com/10381439 (29. novembar 2013.) „umetnost pokreta u vremenu i prostoru“, sve se više Kliën, Michael, 5 Years – Daghdha Space – Slideshow, 2010, etičko-estetska paradigma ● http://vimeo.com/11810173 (29. novembar 2013.) odvlači od „idealnog sveta“ pozornice. U isti mah, Moj lični rad, kao dramaturga i umetnika, pod nagnana je i na preispitavanje svog jezika pojmova dubokim je uticajem radova drugih, sa kojima i sistema obrazlaganja. Koreografija se pomakla iz pišem, delujem, promišljam i izvodim, i njihov arhitekture svog nepokretnog istorijskog sveta i doprinos i ovde, u ovom napisu, igra važnu ulogu. pojavila se kao otelovljen čin ljudske svesti, više Moje veze s društvenom koreografijom me stoga ne odvojen, već smešten u nesvodljiv, nepojmljivo obavezuju da delujem u mnogim disciplinama složen sistem uređenja biološkog sveta. i društvenim sferama. Kao angažovan Michael Kliën i Steve Valk, „Choreography „koreograf“, nastanjujem jednu otelovljenu as an Aesthetics of Change“ (Koreografija dimenziju smeštenu u tačkama preseka između kao estetika promene) kreativnih praksi drugih. Stoga se tu, na primer, oslanjam na zamisli Félixa Guattarija, kako Popadaše okviri slika, postolja kipova, stilovi ih u svom radu promišlja Claire Bishop: arhitekture, kao što spada prašina s nogu putnika koji stiže na cilj svog putovanja. Pri kraju svoje poslednje knjige, Chaosmosis Kuća, oslobođena estetičke (1993), Félix Guattari pita: „kako da oživite jednu tradicije, postala je živo biće. učionicu, tako da bude kao da je umetničko delo?“. Frederick J. Kiesler, Manifesto on Za Guattarija, umetnost je beskrajno obnovljiv izvor Correalism (Manifest korealizma) vitalističke energije i stvaralaštva, stalna snaga mutacije i subverzije. On izlaže trodelnu shemu Pošto svet sada drugačije razumemo, razvoja umetnosti, smatrajući da smo na ivici nove trebalo bi da usledi nešto o tome kako paradigme, u kojoj umetnost više neće dugovati upravljamo svojim poslovima u njemu. Kapitalu. U tom novom stanju stvari, koje on naziva Andrew Pickering, Making another „etičko-estetičkom paradigmom“, umetnost bi World (Stvarajući drugi svet) trebalo da zauzme „ključno mesto u transverzalnosti Društvena koreografija: upotreba u... Društvena koreografija TkH 21 65 u odnosu na druge Svetove vrednosti“, Društvena koreografija: Koreografija kao estetika dovodeći do mutantnih oblika subjektiviteta rana povest / poreklo ● Nastajući iz promene ● Polazeći od tog saznanja, i rehumanizujući disciplinske institucije. Za specifične konfiguracije umetničkog rada pri mislim da Institut za društvenu koreografiju Guattarija, transverzalnost označava „militantno, Ballett Frankfurtu krajem 90ih godina, koji je upravo ostvaruje dalje proboje u postavljanju društveno, nedisciplinovano stvaralaštvo“; to na kraju doveo i do promene paradigme, termin koreografije kao discipline u evoluciji ka je crta pre nego tačka, most ili pokret, koju „društvena koreografija“ je, po mom shvatanju, kulturnoj praksi. Njegovi projekti i praktična pokreće skupni Eros. (Bishop 2012, 273) postao sinonim za novu participativnu/situacionu istraživanja koji su u toku nastavljaju da epistemologiju, proisteklu iz institucije i ispituju kako koreografska praksa može Plesovi delovanja (agency) ● konceptualnih arhitektura savremenog plesa. doprineti nastanku originalne politike u Disciplinu kojoj pripadam vidim kao neku vrstu Poreklo i odvijanje tog preobražaja, ovde u odnosu na odgovornu građanskost/nadziranje transverzalne kreativnosti putem pokušaja Frankfurtu, poklopilo s preseljenjem Ballett (stewardship), kao i na upravljanje složenim i pogreške (trial-and-error), koje po prirodi Frankfurta iz gradske opere i njenog proscenijuma ljudskim sistemima i stvaranje fleksibilnih i mora biti duboko ukorenjeno i spontano: („pred scenom“, pozornicom...) u ogromne, odgovornih institucija. Institut za društvenu nedisciplinovano delovanje koje nastaje iz utapajuće i otvorene prostore Bockenheimer koreografiju nastoji da prepozna, osnaži i otvori neprekidne prakse. Mislim da je to na neki depoa, s njegovim neposrednim pristupom, nove političke dimenzije estetske prakse, ne način srodno „vitalnosti“ koju evolucija kodira vizuelnim i arhitektonskim, okolnim ulicama, predstavljanjem ideologija, već stvaranjem u fenotipe svih živih bića; kreativnost kao pločnicima i prolaznicima. U svojoj tadašnjoj ulozi uslova za nastanak originalnih društvenih način preživljavanja. Paradoksalno, upravo su glavnog dramaturga i umetničkog saradnika, odnosa izravno iz koreografske prakse. ■ na toj dubokoj epistemičkoj razini utemeljeni verujem da je ta situaciona „promena scene“ i neki od najrazornijih sistema verovanja i takođe promenila i pojmovne okvire i konvencije obrazaca ponašanja u našem društvu. Nova, koje je delio s tradicionalnim institucijama navedeni radovi: proširena i hitno potrebna uloga koju umetnost savremenog plesa, kao i performativne Bishop, Claire, Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso, London – Njujork, 2012. i kultura moraju preuzeti je rad ka stvaranju arhitekture Ballett Frankfurta, donoseći radove hoffmeyer, Jesper, Signs of Meaning in the Universe, Indiana alternativnih životnih disciplina i generativnih poput White Bouncy Castle (Beli zamak za University Press, Blumington, 1996. društvenih ekologija koje bi mogle doprineti skakanje) i Endless House (Beskrajna kuća); Kiesler, Frederick, Inside the Endless House, Historical Museum of Vienna, Beč, 2002. preokretanju ciklusa sistemskog razaranja velike participativne projekte poput Schmalclub, Kliën, Michael i valk, Steve, „Choreography as an Aesthetics živih bića i životne sredine koji nam u smrtnom kada je, na primer, 250 ljudi prespavalo u of Change“, 2008, http://choreograph.net/articles/lead-article- zagrljaju drže živote i budućnost ljudske vrste. pozorištu, ili New Meaningful Public Space choreography-as-an-aesthetics-of-change (29. novembar 2013.) (Novi smisleni javni prostor), dnevnu sobu koju Kliën, Michael i valk, Steve, Framemakers: Choreography as an Aesthetics of Change, Daghdha Dance Company, Limerik, Somatsko pisanje ● Koreografija je su uređivali kustosi i koja je bila otvorena po Irska, 2008. „plesopisanje“ (dance-writing). Ona nije samo četiri meseca tokom dve uzastopne godine. Pickering, Andrew, Making Another World, University of komponovanje plesanja, već i plesanje radi Melbourne, Melburn, 2007. komponovanja: zamena glave i trupa, kao u Kibernetička epistemologija ● kognitivnoj zameni koju otelovljuje T’ai Chi U tom razdoblju, razvijene su složene Ch’uan. Telo misli i vodi preterano razboritu glavu participativne mreže širom kraja, grada, čak zahvalnost: ka plesanju. Pisanje tela i pomoću tela upućuje i regiona. Bockenheimer depo je služio kao Želim da se zahvalim Ani Sánchez-Colberg, Michaelu Kliënu, Andrewu Pickeringu, Alanu Shapiru i Danielu Whiteu na podršci i glavu kako da ponovo gestikulira ukorak sa svojim početna baza i orijentaciona tačka za šire savetima u pisanju ovog članka. sisarskim poreklom. U grčkom pozorištu, gde društveno-kulturne događaje u stvaralačkoj je, prema Aristotelu, glumac nekada istupao iz zajednici Frankfurta i okoline. Radeći pod hora da bi iz ditiramba pokrenuo dramu, nastaje jednostavnom i smelo naivnom pretpostavkom proza iz poezije i racionalnost (logos) iz osećanja da je pozorišna scena deo života kao takvog i mašte (mitosa). Ali s razvitkom tragedije, i da strategije koje se tu razvijaju imaju širi nailazimo na Edipa, koga hor poziva da upravlja značaj, uključujući i preuređivanje društvene državnim brodom dok se ljulja po olujnom sfere, društvena koreografija kao polje u moru, koji otkriva da mu je za to neophodno nastajanju, pokrenuto pri Ballett Frankfurtu i Tirezijevo slepo savetovanje: somatska mudrost nastavljeno po njegovom zatvaranju 2004. po „vidovnjaka“ bez vida koji je bukvalno bez mestima kao što je Plesna trupa „Daghdha“ „ideja“ (pošto grčki izraz idea potiče od idein, u Irskoj pod vođstvom koreografa Michaela „videti“) ali je ipak obdaren proročkom vizijom. Kliëna (2003–2011), počela je da postavlja Edip mora da izgubi hegemoniju ideacije da pitanja poput ovih: „Ko koreografiše šta u našem bi ponovo otkrio svoju neizrecivu animalnost. društvu?“ i „Kako su stvari uređene i kakvi se Mora otkriti da je prekršio incest-tabu, Lévi- okviri stvaraju da bi se dogodio pokret?“. Termin Straussov graničnik između prirode i kulture, „koreografija“ je prenet u polje ljudskih odnosa, i tako se suoči s vlastitim genomom: svojim kao način sagledavanja i stupanja u odnos nastankom, kao ljudskog bića, od majmunskog sa svetom, umetnost uzajamnog delovanja i porekla. Kada svest pomerimo iz glave u trup, ometanja... umetnost prelaženja... svakodnevnog počinjemo da pišemo i državni brod izvodimo ka upravljanja odnosima i dinamikom, izraženim novoj perspektivi: perspektivi kadroj da preobrazi kroz telesni pokret ili zamisli. Time je došlo do ljudsko biće iz temelja. To je preobražajna otvaranja nove i vitalne teritorije razumevanja i umetnost društveno angažovane kulturne prakse. angažovanja, teritorije bez ograničenja, teritorije Daniel White, u nedavnoj prepisci elektronskom s potencijalom da stvara spone i nalazi veze kroz poštom čitavu društvenu sferu i na svakoj njenoj tački. 66 TkH 21 Društvena koreografija Randy Martin O plesu, derivatima, dekolonizaciji i kinestemama

randy MArTin ● ● Društvena Sjedinjenih Država).1 U ovim primerima, ples Fishera ili gospode Blacka i Scholesa; međutim, koreografija postavlja otelovljen pokret „u same je predigra pred donošenje pravih odluka; genealogije, konteksti i vektori koji su odredili temelje društvenog iskustva“, prostor inače dalje, on je odvraćanje pažnje od onoga što bi pojam finansija daleko su razliveniji i višeslojniji. rezervisan za ekonomiju (Hewitt 2005, 2). zaista trebalo učiniti, samo kada bi neko jače Ritmovi i kadence telâ u pokretu i način na koji Sada, na mesto ekonomije dolaze finansije, a sučeljavanje suparnike čvršće postavilo jednog vrednost protiče kroz društvo dele međusobno padaju i same konvencije vrednovanja. Finansije prema drugom. Politička je pozornica već konstitutivna načela povezivanja, čiji je jezik funkcionišu pomoću tokova. One proizvodnju postavljena, njeni su rekviziti poznati, osobine, nedovoljno artikulisan i češće se objašnjava sele u promet. To je jedno prinudno kretanje, motivi i metodi dramskih lica već znani. Glumci kao sled mîsli uzvišenih pojedinaca. Ovde, koje nalaže neprestano kretanje dalje, napred. zauzimaju svoja mesta, spremni da stvore istoriju okret ka plesu treba da učini jezik društvenog Čak i posle krize, moramo nastaviti po svaku čim muzika i taj ples što smeta budu stali. pokreta čujnim, primetnim, osetnim i čitljivim. cenu. Cena te prinude je vera finansijskog U ovom moralističkom poricanju životnog Naravno, ples ima određenu povest, sektora da vidi sve, ali ne zna kako se kreće, značaja plesa, možemo čuti odjeke prikazivanja kanone mnogopoštovanih velikana i trenutke niti čak poseduje terminologiju za vlastito finansija kao bezumnog kretanja ili lukavog ekspanzivnih mogućnosti i disciplinskog kretanje. Kada finansiranje stane, nastaju manevrisanja radi sticanja položaja, besciljne potčinjavanja, ali takođe nudi i scenu za sveopšta kriza i propast. Kada opet krene, terevenke ili vrdanja koje odvraća pažnju od proizvodnju znanja i njegovih granica, koja može sve se zaboravlja i ples se nastavlja. onoga što zbilja pokreće i potresa svet. Tu bi se uticati na odvijanje pokreta u drugim poljima. Kada se ovako koristi, pojam plesa je između plesa i finansija mogla povući analogija Učiti od plesa ne znači insistirati da svi uče da uvek sumnjiv. U konvencionalnoj politici, kao između dve pojave koje su podjednako plešu, niti tvrditi da je ples povlašćena praksa okarakterisati nešto kao ples znači smatrati ga prolazne i sekundarne, koje nas podjednako koja će nas sve odvesti do Obećane zemlje, nečim što vrda, što nije autentično, kao da se ometaju da se usredsredimo na ono što je zaista kao što ne bi trebalo uzimati zdravo za gotovo vrti oko teme, kao da je uhvaćeno u cajtnotu, stvarno, važno i što zahteva pažnju. Vreme je ni tvrdnje finansijskog sektora da nas vodi ka nesposobno da utiče na napredak koji traži. da okončamo tiraniju metafore, jer su plesanje i bogatstvu i sreći. Analitičko povlašćivanje plesa, Po Oksfordskom rečniku engleskog jezika, finansiranje dance( and finance) povezani čvršće kao kritičkog metoda, poziva na promišljanje ovakva figurativna upotreba pojma plesa znači nego samo rimovanjem i kreću se u istom ritmu. unutar njegovih vlastitih uslova kretanja, voditi (u plesu), retko plesati (s nekim); fig. Njihov odnos nije mimetički i ne podrazumeva sredstava kojima se tela okupljaju, a ne pojmova voditi (nekoga) zamornom, zbunjujućom ili nikakav nastanak na jednom mestu, koji bi kojima se njihov uticaj ukida. Nalazeći se u plesu, razočaravajućom putanjom; zadavati nekome zatim zračio na spolja ili se kretao tragom postavljamo svoje repertoare angažovanja kao napora ili brige bez odgovarajućeg ishoda. anksioznog uticanja. Zapravo, odnos praksi da su već u pokretu. A ta tela koja sama sebe Letimičnim pregledom preko digitalnog pokreta preko raznih područja koja dele određene proizvode, pokreću se različito, međuzavisno, horizonta, nailazimo na izraze kao što su „Ples kinestetičke osobine je u biti izveden, derivatski višestruko. Čak i u pokretu unisono se može pomirenja“ (u vezi s politikom i kriminalom); (derivative). Prema legendi o postanju finansija, pročitati razlika. Koreografija otkriva kako vrvi „Divlje finansije: tamo gde plešu novac i izvorne zamisli, prema kojima je sve kasnije mnoštvo iz jedinstvenog umetničkog rukopisa politika“ (u vezi sa spasavanjem od bankrota); ustrojeno, potekle su iz glava ljudi poput Irvinga (signature). Ono što naizgled dolazi iz jednog tela „Ples branilaca“ (u vezi sa upornošću rasizma zapravo počiva na usklađenom i međuzavisnom 1 Reprezentativni primeri posle državnog spasavanja banaka u reakcijama na izbor Obame za predsednika od bankrota mogu se naći u Thompson 2008, Big Tent Democrat trudu mnogih i pruža priliku za samoekspanzivnu 2009. i Cannon 2009. društvenost (sociality). Ples je celina sastavljena O plesu, derivatima, dekolonizaciji i kinestemama Društvena koreografija TkH 21 67 od više celínâ, postignuće vlastitog viška njegova autonomija, tako teško stečena, nije svoje vrednosti predstavljene sredstvima koji ostavlja jedno sudbonosno podsećanje, mu uvek jamčila mesto pod suncem. Često se sa kreditiranja i zajmljenja, sve dok na kraju ne obećanje svim prisutnima koje nikada do kraja žaljenjem navode njegova prekarnost, nestalnost, završe u nekom trenutku prijema ili potrošnje, ne može biti apsorbovano. U tom smislu, ples nestabilnost. Takođe, plesači teško zarađuju za kupovine i upotrebe. Nasuprot tome, za ples bi se tiče viška koji se inače vezuje za ne-znanje. život; prostori za prikazivanje plesa se muče, se moglo reći da opisuje jedno drugačije stanje, Ples je bio ključno mesto kultivisanja tela, u inat smanjivanju podrške; publika se bori sa u kojem se opticaj u potpunosti nalazi unutar pri čemu je poverenje počivalo na civilizacijskoj sve višim cenama karata. Da bi ples pokrenuo proizvodnje, gde se tela znoje na mestu i kreću misiji koja je mogla da delotvorno kolonizuje zaustavljeni razvoj političkoga, njegovo znanje kroz prostor, gde upotreba proizlazi iz razmene prirodu – ljudsku i geofizičku. Kultura colere( ) kako se sakupljaju tela, podešavaju prostori i u trenutku izvedbe. Kredit za delo koje je je isprepletala ta dva zabrana ili kolonizacije vremena, vrednuju uzajamne povezanosti, mora zajednički priloženo i dug među telima izvođača primitivnih nagona, željâ, volje koja je ljudska postati čitljivo i van granica koreografije. Isticanje i publike, koja su privremeno isprepletana, tela mogla da preobrazi u izvore rada i prirode analitike pokreta, kojom ples toliko odiše, može upravlja pažnju na neku prolaznu vrednost, kao divljih i neukroćenih sirovina – od kojih su obezbediti bogatije vrednovanje onoga što se ispunjava prazninu i oročava taj trenutak obe tražile disciplinovano i usmereno upravljanje. dobija političkom mobilizacijom. Za jednu bogatu zarad nekakvog obećanja buduće razmene. U tom smislu, civilizacija je uvek bila nedovršen a potcenjenu politiku, postavlja se pitanje: Na prvi pogled, ples bi se mogao postideti poduhvat, i zbog varvarskih sredstava kojima kako mobilisati ples da bi počeo da misli kroz što deli svojstva derivata. Modernistički ponos se služila u ostvarivanju svojih ciljeva i zbog sadašnjost?3 Bez sumnje, ni sama sadašnjost mu nalaže da prigrli originalnost, inovativnost neprestanog otpora potčinjavanju, koji je nije jedna već više stvari. Svakako, politika je i autonomiju kao ono što mu omogućava da davao podstreka pobunama i revolucijama, staza koja se probija kroz mogućnost, ona je bude gazda u svojoj kući i čuva svoja blaga. ali i dovitljivosti i stvaralaštvu. U tom smislu, ostvarivanje ciljeva u jednom spornom polju Međutim, ako to poverenje počiva na uslovima kultura bi se odnosila na ono što tela čini kretanja. Ono što nas pokreće izvan postojećih stvaranja plesa koji više ne preovladavaju, biće odgovarajućima, ali i na tela koja preoblikuju ono uslova i ograničenja obično podrazumeva neophodno otkriti nova načela suvereniteta, da što je odgovarajuće, uređujući i preuređujući, pronalaženje puta između tvrdokornih bi ples (kao, uostalom, i druge izvođačke prakse) kolonizujući i dekolonizujući. U tom najširem suprotnosti koje prete da sasvim obuzmu ostvario svoju estetsku i političku vrednost. smislu, dekolonizacija zahteva rušenje poretka maštu stvaralačkih i pokretnih društvenosti. Ovde polazimo od toga da derivat, kada se koji ograđuje, ali i stvaranje nečeg drugačijeg Eterično i avetinjsko prisustvo, koje je možda posmatra kao društvena logika a ne samo kao od njega, oslobođenje od ograničenog kretanja, najkonvencionalnije obličje plesača, naročito finansijsko sredstvo, otkriva šta podrazumevaju mobilizaciju radi otvaranja i preobraženja. žénâ, pridaje se i plesu u celini, sa teškim ova izmenjena stanja suvereniteta. Derivati Politiku danas pogađa kriza vrednovanja. posledicama po njegovo vrednovanje i podršku nam pokazuju moguće posledice naizgled Širom sveta, milioni su na ulicama, da bi srušili plesu kao nekoj vrsti nemoguće ekonomske neznatnih varijacija i načine kojima se delanje vlade, sakupljeni iz jednog prekarnog stanja, da anoreksije. Istovremeno, kod plesačâ se cene otelovljuje i širi, tako da mogućnosti upravljanja bi uspostavili neko drugo prekarno stanje. Ali, nije kreativnost, prilagodljivost, odsustvo materijalnih tokovima života, koje možda izgledaju oskudno, tako lako dokučiti težnje onih koji su na terenu, potreba – oni mogu da rade i u praznim rashodovano i neupotrebljivo, budu ponovo sklonosti onih koji su zauzeli položaje vlasti, prostorijama, samo pomoću svojih tela, često sagledane kao neka vrsta ples-obilja (abund- uslove ustanova koje izdaju zajmove i ucenjuju. bosi, navodno opstaju na veoma malo kalorija i, dance). Sagledavanje rada logike derivata u U isti mah, političko se čini i kao problem viška i čak i među izvođačkim umetnicima, daju više za plesu nudi dva obećanja: da će nam omogućiti kao problem manjka. Svaki vid ljudskog pregnuća manje, jer su najmršavije plaćeni.4 Njihova ljubav da uočimo ono što ples uopštava kao društveni može se namerno osporavati, a ipak, svaka, prema umetnosti subvencioniše njihovu težnju život, izvan osnovne aktivnosti plesanja, kao ma kako žustra intervencija stvara osećaj da ka savršenstvu – čineći ih idealnim radnicima i održiva načela i stvaralačke prakse koje su se nije uradilo dovoljno. Sveprisutno kretanje, u idealizovanoj kreativnoj ekonomiji.5 Ples je već nadohvat ruke, u nečemu što se inače čini, krešenda nepostojanosti (volatility), vrtoglave uhvaćen između odricanja od telesnosti radničkih sa stajališta krize, kao svet u ruševinama. promene pravca ostavljaju utisak nedostatka tela i jednog modela rada bez sukoba, prigovora Dalje, usredsređivanje na načine kojima se mali vremena ili izgubljenosti u prostoru. Neravnoteža i opipljive nadoknade. Umesto prihvatanja ove pokreti mogu ulagati radi većih dobitaka i praksa koja je usledila pokazuje se dezorijentišućom opake dihotomije između realnog i fiktivnog, arbitraže su posebno ključne pozicije trgovca za mišljenje i otežava snalaženje u gustišu koja navodno razdvaja industrijsku proizvodnju derivatima kao subjekta. Cilj objedinjavanja ovih praksi koje se kreću ovamo i onamo. Javna od finansijskog opticaja novca, kao zasebne intervencija nije da obuhvati čitavu osobu, nego okupljanja, masovne okupacije se predstavljaju sektore ekonomije, mogli bismo sagledati ples da pokrene identitet, da pruži nešto što će se kao da nemaju zahteve ni zamisli, a mobilizacija kao ključno mesto za razumevanje načinâ kojima trenutno ukazati kao javni interes, u kojem velik kao neprijatelj zastupanja (representation). tela u pokretu stvaraju vrednost. Po starom broj kratkih poseta mestima i trenutaka pažnje ili Ali, probijanje kroz neravnotežu, pronalaženje shvatanju, fabrika je neko nepokretno mesto pogodaka zajedno čini pogodak znatnog upliva. puta kroz prostore neograničenih mogućnosti, na kojem se tela znoje i dirinče, gde se stvara Nadajmo se da ovakvo viđenje derivata sada već svakako je ono u čemu je ples najbolji. Barem po roba i kasnije te stvari otuđuju od svojih tvoraca, postaje nešto telesnije, da bi ono prolazno upisalo zapadnjačkom modernističkom poimanju, ples kreću i kruže nadaleko i naširoko, posredstvom u nekakvo opipljivo telesno kretanje. Finansije se obično smatra pokretom radi pokreta.2 Ipak, se zaista u celini tiču prinudnog kretanja, 3 Ovim pitanjem sam se već bavio u svom prethodom radu. Vid. obaveze da se ide i dalje, bez obzira na cenu, 2 Naravno, ovaj naboj između posebnosti plesa i njegovog Martin 1990. i 1998. dalje u budućnost, bez opterećivanja povesnim univerzalizma prožima povesne i etnološke podsticaje koji su 4 U Sjedinjenim Državama, gde ih ima ukupno 25.000, plesači zahtevima i potraživanjima. Ali ako finansije šire oblikovali pristupe proučavanju plesa sve dok to proučavanje nije predstavljaju najmanje rasprostranjeno zanimanje koje se krenulo jednim više filozofskim i teorijskim pravcem. Na primer, zvanično prati u statistikama i u proseku zarađuju 27.392 dolara pokret posvuda, one ne stvaraju jezik pokreta, vid. Martin 1965, Hanna 1987, kao i Foster 1986, tekst koji je godišnje, naspram muzičara, koji zarađuju 27.558 i glumaca, koji nikakav senzibilitet u smislu naše sklonosti da pokrenuo studije plesa kao zasebno područje. Kao noviji primer zarađuju 30.254 (National Endowment for the Arts 2011). idemo jednim putem a ne nekim drugim, nikakvu filozofskog zaokreta u evropskim studijama plesa, vid. Sabisch 5 Andrew Ross to afektivno subvencionisanje umetničkog 2011. Takođe, vid. Klein i Noeth 2011, noviji zbornik koji odražava rada naziva „popustom u kulturi“ (Ross 2000). Vid. oštru kritiku logiku po kojoj bismo mogli da razumemo kako taj zaokret. prigovorâ kreativnih klasa u Pasquinelli 2009. smo pod upravom imperativa kretanja, kako nas 68 TkH 21 Društvena koreografija Randy Martin on usmerava, kako se mi njime usmeravamo, ta dva pojma nije izvoran, već su oba derivati. Sa druge strane „bare“, za kupca bi bila obratna protiv njega, ka nekakvoj spoznaji kako bismo Mobilizacije se stapaju na jednom mestu iz situacija: stolove bi dobio za manje dolara, ali drugačije mogli da se krećemo i vladamo. Tišina nečega što je već stvoreno i što će završiti negde bi verovatno želeo da se zaštiti od apresijacije i muk koji vladaju u srcu finansiја jesu pozornica drugde. Društvene kinestetike su višestruke i dolara prema evru. Sporazum o razmeni po za okretanje plesu, za hvalu praksama koje slave istovremene, u vidu polifonije silâ i tokova; one fiksnom kursu služi kao zaštita od tog rizika. telesnu zaduženost i nude beg kao uzlet kojim ne nameću nikakvu genealogiju uticaja, već U tom smislu, rizik ili mogućnost devijantnog bi se mogla upoznati i neka prijateljska neba. niz bočnih veza, u kojima se različite prakse ali predvidljivog ishoda, takođe je uračunata u Najzad, smisao nije u uopštavanju od plesa ka spajaju pomoću nečega (ali ne svega) što ih ugovor koji se dalje može razmenjivati i tako drugim praksama, niti u prikazivanju plesa kao ustrojava. Ovaj rečnik je apstraktan koliko i postati sredstvo ulaganja koje štiti od niza uzora ponašanja koji bi svuda trebalo oponašati, rečnik finansijskih derivata. Treba ga utemeljiti mogućih dobitaka ili gubitaka. U ovom slučaju, već u analitičkom povlašćivanju plesa kao prakse u nekoliko praksi koje će učiniti opipljivim rad u opticaju su ugovori o derivatima zasnovani kadre da dešifruje kinestetičke dimenzije jedne logike derivata u plesu i omogućiti nam da na istoj prodaji, za slučaj oscilacije vrednosti društvene logike koja funkcioniše kao kretanje sagledamo načine kojima ples otelovljuje ono što valute. Ali, brojni su rizici i prilike za stvaranje ali ne nudi sopstveni jezik kojim bi se obraćala bi derivati mogli da čine izvan finansijskih zdanja. derivata, za razne mogućnosti koje proizlaze iz iz perspektive telâ u pokretu. U plesnom smislu, jedne te iste prodaje. Na primer, prodaja stolova možemo ukazati na logiku derivata koja teče Ka spletu okolnosti ● U poimanju može zavisiti ne samo od kursnih pomeranja, između mreže i ustrojavanja putem pojmova ekonomista, čak i onih kritičkog opredeljenja, nego i od mogućeg otkazivanja prodaje, ili mobilizacije i društvene kinestetike. Mobilizacija poput Nouriela Roubinija, kriza je prenošenje nemogućnosti banke da plati. Zato ukupna se odnosi na medij koji stvara posledice pokreta, poslovnog ciklusa na viši nivo. Ovde, ekonomika vrednost derivatnih ugovora daleko nadmašuje koji čini opipljivima inače nestalne zahteve treba da opravda poverenje tako što će pokazati stvarnu ili osnovnu vrednost robe kojom se trguje. (entailments) vremena i prostora. Plesanje da njena kretanja slede prirodne zakone. Šta Kako je globalnih transakcija sve više, tako se mobiliše u jednom mestu-vremenu i prostoru, god raste, mora na kraju pasti. Materijalnost uračunava i sve više vrsta rizika – od kursa i stvarajući kapacitete iz širih senzibiliteta, koji ciklusa je jedan zamoran problem (šta, uostalom, kamata, do temperaturnih promena i vremena. se raspršuju kroz vidove mnogih praksi pokreta čini jedan ciklus, šta čini njegove pravilnosti, Dok se derivatski ugovori u poljoprivredi prave kojima se tela zajedno kreću. Zapitati se od otkud ponavljanje i zatvaranje ciklusa itd). već hiljadama godina, derivati u sadašnjem čega je ples i šta ples stvara osim sebe znači Ipak, materijalnost nekog kulturnog stila obliku postoje od 70ih godina, a u obimnoj ukazivati na pitanja konteksta i prilikâ – gajiti unutar nekog razdoblja čini se još zamornijim trgovini na zvaničnim berzama od 90ih. Zbir jedan senzibilitet koji oštro zaseca, dok spaja problemom, pošto izgleda kao da protok vremena svih derivata kojima se trguje javno manji ili razdvaja telesne pažnje i usmerenja – slično podjednako neobjašnjivo izaziva promene u je od ukupne vrednosti ugovorâ sklopljenih načinu na koji se shvata i uspon finansija.6 izrazu i opredeljenju, umesto ispitivanja načinâ izravnom pogodbom. Razmena se ugovorima ne Kao i zamisli koje dolaze iz raznih kulturnih kojima se oblikuju određena načela kretanja završava; samo mali postotak se isplaćuje po studija strukture osećanja, pretpolitičke i zatim i sama teku svojim svetom, menjajući dospeću. Umesto toga, ugovori ostaju otvoreni dispozicije, prećutnih ili virtuelnih društvenosti, ga. Ovde je cilj da ne izgubimo iz vida veze ili se neprestano razmenjuju putem onoga što moguće je zamisliti i materijalno okruženje između kulturnih i drugih društvenih odnosa i se zove kliring. Posledica toga je stalni opticaj telesne aktivnosti pre nego što se stvrdne u procesa, kao ni da odbacimo istorijske dimenzije sredstava zaduživanja i uključivanje lokalne specifičan praktični izraz.7 Društvena kinestetika određenih senzibiliteta. Naprotiv, ako te veze proizvodnje u svetska tržišta i mogućnosti se može razumeti kao usmerenje, senzibilnost nisu predodređene nekom datom sličnošću ili zarade u zavisnosti od kretanja cena na tim ili predispozicija koja oblikuje pristupe pokretu, odrazom, niti unapred zadatim trajanjem ili tržištima. Mada derivati trgovcima donose na istorijski određena mikrofizika koja stvara ciklusom, onda teret objašnjavanja pada na desetine milijardi prihoda i vredeli bi, kada bi energetska polja pokreta i upravlja njima. uverljivost veza koje se mogu povući. Stoga reći se unovčili, na desetine biliona (tačnije, 27 Posmatrano unutar mobilizacije, sve je umreženo, da je logika derivata prisutna u raznim kulturnim biliona dolara, što je i dalje manje od svetskog a iz ugla jedne društvene kinestetike uočljivo je i finansijskim praksama ne znači dodeljivati tržišta deonica i obveznica, koje se procenjuje neko organizaciono pravilo ili logika. Nijedan od posebna mesta u nekakvom arhitektonskom na oko 200 biliona dolara, što je više od ukupnog poretku (na čemu je bila zasnovana zamisao svetskog društvenog proizvoda od 75 biliona 6 Ovde treba da pomenemo one okvire tradicije marksističke istorijske analize koji se oslanjaju na vremenske cikluse ili talase strukture), već odrediti načela kretanja koja dolara), nominalna vrednost svih derivatskih različitih razmera. Pojam dugih i kratkih ciklusa, kao način povezuju čitav niz aktivnosti i tokove ljudi, ne ugovora u 2012. iznosila je trilion i po dolara.8 razumevanja istorijskih kretanja i preobražaja kroz krize, razvili su prisiljavajući ih da se prilagode jednoj zamisli. Kapital je isticao ekonomiju kao zbirno ime Fernand Braudel i njegove kolege iz škole Anala na osnovu radova ruskog ekonomiste Kondratijeva. Njihov rad je dalje unapredio U tehničkom smislu, koji se koristi u za svoje društvene odnose; naš zadatak ovde je Ernest Mandel, na čijim osnovama je Fredric Jameson došao finansijskim uslugama, derivati se obično da istražimo kakvu društvenu logiku otkrivaju do svoje sheme periodizacije postmodernizma, kao i Immanuel shvataju kao ugovori o razmeni određene derivati, koja bi mogla da objasni njihovo širenje Wallerstein do svoje analize svetskih sistema. Što se finansija tiče, ove sheme je najuspešnije objasnio Giovanni Arrighi (Arrighi količine nečega u određenom trenutku u i uticaj nezavisno od razmene radi dobiti ili 1994). Iako sve ove analize preuzimaju Braudelovo usredsređenje budućnosti, po unapred ugovorenoj ceni. Na pukog nastavljanja neprekinutog lanca sve na ono što on naziva materijalnom civilizacijom, figura talasa primer, proizvođač nameštaja iz Evrope izrađuje delotvornijih poredaka akumulacije kapitala. ili ciklusa je neobično metafizička, to jest, nije jasno od čega se sam ciklus sastoji, šta podstiče njegovo kretanje kao takvo, osim stolove za prodavca iz SAD; isporučiće ih za Ovde će „logika“ morati da bude polazište a ne predstave da određene faze traju određeno vreme. Moja namera šest meseci i naplatiti milion evra po kursu cilj ili kraj, senzibilitet koji će povezati stvari na ovde je da upotrebim ples da bih otelotvorio ono što se inače od dolar i po za evro. Ali ako se kurs promeni i određen način, istovremeno se krećući dalje od shvata metaforično, u velikim obradama društvenih preobražaja i evro apresira odnosno poraste prema dolaru, sebe. Akumulacija kapitala takođe stvara obilje promena. Vid. Braudel 1992, Mandel 1976 i Wallerstein 1986. 7 Struktura osećanja je pojam iz knjige Marxism and Literature proizvođač će izgubiti novac kada stolovi budu društvenih odnosa, uzajamnostî i opterećenjâ, Raymonda Williamsa (Williams 1977); pretpolitičko je pojam gotovi, pa je zato spreman da plati još hiljadu za tek nastajuće senzibilitete radničke klase kod Edwarda evra za pravo da razmenu izvrši po unapred 8 Banka za međunarodna poravnanja prati sve derivatske Thompsona (Thompson 1963); pojam virtuelnog kao prećutnih transakcije po tipu i vremenu. McKinseyevi izveštaji vode normi koje upravljaju aktivnostima je razvio Erving Goffman u ugovorenom kursu, umesto da izgubi novac ako, statistike o svetskim finansijskim tržištima, uključujući derivatske Gofman 2009. na primer, evro poraste na 1,6 dolara za evro. transakcije. Vid. Roxburgh i dr. 2011. O plesu, derivatima, dekolonizaciji i kinestemama Društvena koreografija TkH 21 69 koje nije u stanju da poštuje. Ona beži od Finansijski rizik brine odstupanje od određene kretnje, ali kojom ona na te pozive i društvenostî koje stvara i kreće se ka onima očekivanog opsega zarade, ali ne može da odgovaraju. Saznajno kretanje se promišlja kao od kojih želi samo po neki deo. Derivati nisu isprati sopstveni put kojim ostvaruje taj rast. vremenski sled prostorno ograničenih vidova ništa drugačiji. Služe se svim oblicima vrednosti Nesposobnost razlikovanja nelikvidnosti od saznanja, što je Michel Foucault, kao što je dobro koji su već u pokretu, ako ne već i u rukama. insolventnosti govori o slabom razumevanju poznato, opisivao kao arheologiju, poredak stvari Međutim, nezavisno od sveprisutnosti te pojave, vrednovanja vlastitog unutarnjeg kretanja i iz kojeg se izvodi i sam pojam ljudskog. Klasična postavlja se pitanje zašto je analitički i politički osuđenosti na stalne krize, kada god kretanje epistema, koja artikuliše sve što se može saznati celishodno promišljati društveno kroz prizmu i muzika stanu, kao i na lažnu šokiranost u taksonomijama predstavljanja i koju sledi derivata. Pokazivanje tih različitih rezonanci činjenicom da se to opet dogodilo. Ova moderno, gde se apstrakcija uzdiže kao jezik, zahtevaće širok pristup, ali već sada možemo ravnodušnost prema onome što opticaj stvara, oslobođena je od predstavljanja i postmodernog, izneti nekoliko početnih zapažanja. Prvo, mogli što pokreće vrednost ali što takođe vrednuje i koje je Foucault predvideo ali nije imenovao, bismo reći da se logika derivata obraća onome što pokret, ne može se odgonetnuti unutar samog kao raskida sa tim uopštavajućim ideološkim se inače podvodi pod usitnjavanje, rasejavanje, pojma finansija, već zahteva i istraživanje shemama.9 Iako kinesteme takođe imaju povest, izolaciju, omogućavajući nam da prepoznamo samog načela povezivanja; zato je važno one stvaraju i zauzimaju jedan više prostoran načine kojima bi konkretne posebnosti, shvatiti istorijske procese dekolonizacije kao razmeštaj. Kao takve, različite kinesteme mogu određena angažovanja, obaveze, intervencije preusmeravanje načelâ suverenosti, kojima bi sa-postojati istovremeno, čak i na istom mestu. koje podnosimo i trošimo mogli biti međusobno ljudi mogli vladati vlastitim kretanjem, kao i Očito, ovo je veoma apstraktna i uopštena povezani, iako najpre ili najposle ne deluju kao kako vrednovati ova povezivanja iznutra, pod tvrdnja. Kao što savremena finansijska oruđa jedna celina ili jedinstvo prakse ili perspektive. njihovim sopstvenim uslovima. Sada se ovo čine čitljivim razna sredstva kojima se ostvaruje Drugo, derivati artikulišu ono što nastaje u objedinjavanje atributâ radi stvaranja vrednosti derivatna vrednost, ples čini opipljivim ta pokretu, proizvodnju koja se odvija u opticaju i može pripisati i kulturnoj sceni, na kojoj se oruđa zajedničkog kretanja, krupnije društvene stoga nam pomažu da uočimo vrednost svog rada tumači svet, gde se vrednost pomera između kinestetike, čiji je određena izvedba pojedinačan u uslovima opšte nestabilnosti. Treće, derivati onoga što se pravi za druge i onoga što sačinjava slučaj. Plesnim konvencijama određenog funkcionišu putem arbitraže, malih intervencija sopstva. Derivati funkcionišu na osnovu ovih razdoblja bi se obično pristupalo posredstvom kojima nastaju velike promene, generativnih rasutih i razdeljenih momenata načinâ na koje njihovog zajedničkog stila, razvrstavanjem po rizika u svetlu opšteg neuspeha, ali u ime su ljudi naučili da se zajedno kreću, da deluju na izgledu i uticaju. Dobit od takvih formalističkih poželjnih ciljeva. Da bismo prepoznali i ostvarili osnovu određenih senzibiliteta i međuzavisnosti. pristupa, očigledna u pionirskim delima istorije ovu drugu vrstu dobitaka koji bi mogli proizaći Derivati se odnose na to kretanje, zato što i kritike plesa, kao što su dela Johna Martina, iz jedne razvijenije logike derivata, moramo je apstrahuju samo one atribute koji zajedno mogu ogleda se u uzdizanju plesa do vlastitog izvući iz krhotina ekonomskog promišljanja, da teku, prepliću ih u odnosima koji funkcionišu jezika i ispitivanja mogućnostî pokreta radi gde leže zakopana njena uobičajena značenja. i van svojih lokalnih ispoljavanja, omogućavaju pokreta (Martin 1965). Ta perspektiva je Posmatran iz ugla posledicâ pada nam da uočimo ritmove koji pokreću naizgled zamenila uopštenije etnologije plesa, kao Bretonvudskog sistema, derivat kao finansijsko zasebna područja, mada smo i dalje svesni što su radovi Kurta Sachsa, koje su ples oruđe koje kolonizuje kulturno iskustvo, kao razlika koje kolaju našim društvenim žilama. shvatale kao izraz osnovnih nagona, izraza ekonomsko ponovo utvrđuje epistemološko Kulturne scene čine ljudi u pokretu. Oni dolaze zajedničke ljudske prirode (Sachs 1937). preimućstvo, čak i dok propada kao samostalnа i odlaze, probijaju puteve, ostavljaju tragove, Ovde bi akademski pristupi ponovili opšta oblast. Ipak, ako se nalazimo u jednom naseljavaju i napuštaju, pohranjuju i podižu svoja mesta odražavanja nekakve osnovne prirodne stanju posle ekonomije, njegove osnove blaga. Delovanje stanovništva, nastanjivanje stvarnosti ili formalne autonomije, koja su (predicates) treba tražiti ne samo u unutrašnjim (populate, populare), nosi to dvostruko značenje šire odlikovala rasprave o kulturi, prema ograničenjima tržišnih mehanizama, nego i u popunjavanja prostora ljudima i prepuštanja antropološkim i estetskim zamislima tog pojma. širem poretku društvenih procesa kojima ljudi ljudi propasti. Takvo kretanje se opisuje kao Umesto shvatanja plesa kao odraza prirodnih oblikuju razna povezivanja i preplitanja, od pokretanje i zaustavljanje (u smislu istorijskih nagona ili unutar vlastitog formalnog sveta, kojih kapital neprestano teži da se oslobodi. Tu razdoblja), uspon i pad (u smislu ciklusa) i polaženje od društvene kinestetike omogućava ćemo posmatrati društvenu logiku derivata kao nadiranje i oticanje (u smislu talasa). Ipak, ispitivanja načinâ kojima materijalnosti posledicu tih raznih dekolonizacija; ukidanje kretanje ne znači samo prisustvo ili odsustvo; usmerenjâ pokreta u društvenom svetu postaju nametnutih jedinstava i postrojavanja osoba i određena svojstva, usmerenja, sklonosti i čitljive u i zahvaljujući plesu. Ne postaje stil mêstâ zaduženih da prikupljaju bogatstvo za načela ustrojavanja mogu vladati pod pojedinim nebitan, niti duži kontinuiteti usmerenja kretanja druge i podređuju nezavisnost, kao društvenost okolnostima. Kinestetika predstavlja načine nepovezani, već mogućim postaje posmatrati po sebi, zavisnosti od silâ potčinjavanja. kojima pokreti obuhvataju senzibilitete unutar kinestetičke odjeke između praksi koje nastaju Dekolonizacija je ukidanje prirodnosti vladajućeg nekog skupa telâ. Ovi posebni senzibiliteti prema veoma različitim stilskim svojstvima i kulturnim načela vlasti, nesvesnog prihvatanja nejednakih pokretu, koji prethode ili su opštiji od bilo kakvog scenama i uslovima. Objedinjavanje srodnih i neravnopravnih uslova razmene, kojima se želja posebnog stilskog ispoljavanja, čine ono što se svojstava pokreta iz različitih izvora objasnilo trampi za dug sve manje vrednosti. Dekolonizacija može smatrati nekom društvenom kinestetikom. bi derivat u kinestetičkom smislu, otkrivajući je pomeranje od ovih zarobljavajućih oblika Ako epistema opisuje neki vid saznanja koji njegovu logiku kao jedan društveni odnos. nacije, sopstva, mase, koji se izdaju za pojmove formuliše šta će se računati, vrednovati i šta će Logika, pak, nije zakon, već težnja ka samostalnosti i slobode, ali zapravo otuđuju upravljati putanjom daljeg saznavanja, društvena racionalizaciji onoga što je na snazi. Logika ne te iste pojmove oslobađanja u korist nekog kinestetika stvara kinesteme ili otelovljene mora biti ni celovita, niti uspešna. Akumulacija neprobojnog autoriteta. Stoga, to kretanje od nije oblike suvereniteta ili vlasti. Dok epistema kapitala uvek prekoračuje svoje granice, ne prosto beg od nekakve nepodnošljive sile, već predstavlja skup pravila po kojima se vrednuje uspeva da ostvari vrednost koju je sakupila, izdaje sposobnost okupljanja, međusobne sklonosti i znanje ili pravilnostî po kojima se ono stvara, svoje interese, ruši svoje navodno jedinstvo. povezivanja – opticaja koji daje vrednost, a koji kinestema predstavlja ustrojavanje telesnih kapital uopšte i finansije posebno uvek prisvajaju. praksi, moment moći kojom se tela pozivaju na 9 Ovde su ključni tekstovi Foucault 1970. i Fuko 1998. 70 TkH 21 Društvena koreografija Randy Martin

Društvena logika derivata nije ništa određenija bumeranga, mesto nagomilane kinestetičke literatura ni sigurnija. Ovde posmatran kao načelo vrednosti koja otkriva šta se dešava s čitavim Arrighi, Giovanni, The Long Twentieth Century: Money, Power, and the Origins of Our Times, Verso, London, 1994. povezivanja, međuzavisnosti i mobilizacije, ples tim viškom. Strašna figura zaraze, strane sile Bataille, Georges, Prokleti dio, Litteris, Zagreb, 2012. se stavlja u službu artikulisanja unutrašnjeg koja se munjevito širi stanovništvom, postaje Bataille, Georges, The Unfinished System of Nonknowledge, kretanja na kojem počivaju finansije, ali to opipljiva u rasejavanju senzibilitetâ pokreta. University of Minnesota Press, Mineapolis, 2001. Big Tent Democrat, „The Reconciliation Dance“, 2009, http:// ne smeju izgovoriti. Ples se, kao ni bilo koja Plesovi nastaju u jednom širem polju, koje www.talkleft.com/story/2009/12/1/114139/706/otherpolitics/ druga kulturna praksa, ne pravi jednostavnim predstavlja njihovu društvenu kinestetiku, ali The-Reconciliation-Dance (14. oktobar 2013.) poštovanjem pravila. Vežbanje je svakako se pravila i sile te scene ne mogu čitati kao Braudel, Fernand, Materijalna civilizacija, ekonomija i jedan vid discipline, ali niko ne pleše samo takva. Ima, naravno, udžbenika o finansijama kapitalizam od XV. do XVIII. stoljeća, August Cesarec, Zagreb, 1992. Cannon, Carl M, „Joe Wilson, Obama and the Clintons: The disciplinom, niti bilo kakva kinestema može i koreografskih priručnika, ali nema nikakve Dance of the Apologists“, 2009, http://www.politicsdaily. zaustaviti ono što se može stvoriti pomoću legende ni mape društvene kinestetike. Njeni com/2009/09/11/joe-wilson-obama-and-the-clintons-the- načelâ zajedničkog kretanja. Ples čitljivim čini obrisi će morati da se izvuku iz konkretnih dance-of-the-apologists/ (14. oktobar 2013.) Foster, Susan Leigh, Reading Dancing: Bodies and Subjects in jedno sredstvo otelovljenog senzibiliteta koje slučajeva. Za svaku od tri kinesteme, biće Contemporary American Dancing, University of California Press, omogućava vrednovanje mobilizacijâ telâ u izabran reprezentativan primer koreografije. Ti Berkli, 1986. opticaju, koje stvaraju uslove i prilike za dalja primeri ne treba da budu ni tipski, ni arhetipski. Foster, Susan Leigh, Choreographing Empathy: Kinesthesia in Performance, Routledge, London, 2010. okupljanja. Plesanje i bavljenje plesom izazivaju Nema ustaljenog odnosa između konkretnog Foucault, Michel, The Order of Things: An Archaeology of the želju za još. Iako novac, prilike za izvedbu, posebnog i apstraktnog opšteg. Pitanje šta Human Sciences, Pantheon Books, Njujork, 1970. trajanje karijere i izdržljivost i dugotrajnost vlada je proces selekcije i razvrstavanja praksi Fuko, Mišel, Arheologija znanja, Plato, Beograd i Izdavačka knjižarnica Zorana Stojanovića, Sremski Karlovci, 1998. tela svi skupa vezuju ples za oskudicu, svaki koje osnovano polažu pravo na autoritet ili Franko, Mark, The Work of Dance: Labor, Movement, and se pojedinačni slučaj izvedenog pokreta suverenitet. Suverenitet se u tom smislu Identity in the 1930s, Wesleyan University Press, Midltaun, 2002. otvara ka onome što je izvan njega i što se odnosi na telesne prakse koliko i na oblike Gofman, Erving, Stigma: zabeleške o ophođenju sa narušenim ne može apsorbovati u trenutku izvedbe. valute – u oba slučaja mnogo toga je u identitetom, Mediterran Publishing, Novi Sad, 2009. Gye, Lisa, Anna Munster i richardson, Ingrid (ur.), The Ti prolazni trenuci, u kojima se sreću tela opticaju, dok ono što se uzdiže do položaja Fibreculture Journal br. 7: Distributed Aesthetics, 2005, http:// plesačâ i publike, jesu mediji kroz koje prolaze praktičnog univerzalnog, što se u razmeni seven.fibreculturejournal.org/ (14. oktobar 2013.) razdeljene veze i međusobna dugovanja koja svuda prima, može biti veoma ograničeno. hanna, Judith Lynne, To Dance Is Human: A Theory of Non- verbal Communication, University of Chicago Press, Čikago, 1987. 10 se mogu plaćati, ali nikada isplatiti. Nema Zbilja, može se reći da suverenitet povezan s hewitt, Andrew, Social Choreography: Ideology as Performance izravne niti svršene razmene između onoga nekom kinestemom uređuje šta prolazi kao in Dance and Everyday Movement, Duke University Press, Daram, što plesači saopšte u izvedbi i onoga s čime ples a šta ne, kao što finansijska sredstva za 2005. Klein, Gabriele i noeth, Sandra (ur.), Emerging Bodies: publika napusti pozornicu. Mark Franko ističe upravljanje rizicima uređuju šta se računa The Performance of Worldmaking in Dance and Choreography, da je za ples „metakinetička ‘razmena’ – kao vrednost a šta ne. Polaženje od ove Transcript, Bilefeld, 2011. prenos izraza i interpelacije na publiku – bio ograničene ekonomije omogućava nam da Mandel, Ernest, Kasni kapitalizam, Centar za kulturnu djelatnost Saveza socijalističke omladine, Zagreb, 1981. njegov rad“ i da je „ples takođe političan uočimo šta se otkači i šta otvori kada jedan Martin, John, The Modern Dance, Dance Horizons, Bruklin, zbog načinâ na koje se njegovi modeli množe oblik suvereniteta popusti pred nekim drugim. 1965. širom društvenog sveta“ (Franko 2002, 167).11 Ako kinesteme opisuju opštu arhitekturu Martin, Randy, Performance as Political Act: The Embodied Ono što izvedba izaziva jeste otelovljeno kojom se vrednuju telesne prakse, dispozicije Self, Bergin & Garvey, Njujork, 1990. Martin, Randy, Critical Moves: Dance Studies in Theory and saosećanje, koje, kako ga Susan Foster opisuje, koje usmeravaju pokret u odnosu na određene Politics, Duke University Press, Daram, 1998. sile autoriteta, način na koji plesači nastanjuju national endowment for the Arts, „Artists and pokazuje te različite načine kojima plesno telo pozornice ukazuje na zauzimanje i rušenje Art Workers in the United States: Findings from the American Community Survey (2005–2009) and the Quarterly Census u svojoj kinestetičkoj posebnosti formuliše poziv određene scene. Rizici koje preuzimamo u of Employment and Wages (2010)“, 2011, http://arts.gov/ na razumevanje i osećanje različitih pogleda, tim neizvesnim trenucima ne zaustavljaju publications/artists-and-art-workers-united-states-findings- podstičući ih da zajedno učestvuju u otkrivanju samo kretanje, nego mogu i da utiču na naše american-community-survey-2005-2009-and (14. oktobar 2013.) Pasquinelli, Matteo, „Creative Sabotage in the Factory of zajedničke osnove svog iskustva. (Foster 2010, 218) zajedničko kretanje, da odrede šta ćemo Culture: Art, Gentrification and the Metropolis“, u Animal Spirits: vrednovati od tih dugova i šta će izrasti iz A Bestiary of the Commons, NAi Press, Roterdam, 2009, str. Zajednička želja obeju strana za povratkom ruševina. Zajedno i pomoću ovih kinestetičkih 128–159 ross, Andrew, „The Mental Labor Problem“, Social Text br. 63, na tu scenu, za razvijanjem plesa, jeste sredstava, suvereniteti valute, političke 2000, str. 1–32 osnova prokletog dela (la part maudite) u vlasti, kulturne scenografije, mogu se korisno roxburgh, Charles, lund, Susan i Piotrowski, John, plesu, njegove verzije viška koji se ne može artikulisati. Saprisustvo ovih različitih kinestema „Mapping Global Capital Markets 2011“, 2011, http://www. mckinsey.com/insights/global_capital_markets/mapping_ apsorbovati, koji ga približava pojmu neznanja otkriva njihovu sposobnost da istovremeno global_capital_markets_2011 (15. avgust 2012.) Georgesa Bataillea (Bataille 2001. i 2012). Da podrže razne telesne suverenitete, jedno Sabisch, Petra, Choreographing Relations: Practical Philosophy se podsetimo, ovaj višak društvenosti se vraća prostorno mnoštvo (a spatial multiplicity), ali i and Contemporary Choreography in the Works of Antonia Baehr, telu, preplavljuje čula, pogađa ga kao smeh ukazuje na načine na koje granice koje razdvajaju Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon, epodium, Minhen, 2011. ili neki drugi afekt. Ples bi onda bio jedno od jedno područje od drugog preplavljuju svoje Sachs, Kurt, World History of the Dance, Norton, Njujork, 1937. čvorišta za posmatranje povratnog dejstva ovog obale, a njihove bujice probijaju još jedan put Thompson, Edward Palmer, The Making of the English Working kojim se kretanje odvija. Kada se to ostvari za Class, Vintage Books, Njujork, 1963. Thompson, William Irwin, „Wild Finance: Where Money 10 Pojam razdeljene estetike se obično tiče digitalnih medija i ples u užem smislu, može se otvoriti čitav svet and Politics Dance“, 2008, http://integral-options.blogspot. mrežnih kultura; ovde, prelaz na otelovljene prakse izvedbe treba pokreta, arhipelag društvenih koreografija. com/2008/11/wild-finance-where-money-and-politics.html (14. da omogući promišljanje kinestetike razdeobe kao takve. Npr. vid. Scenografska zatvaranja u kojima se ples odvija oktobar 2013.) Gye i dr. 2005. Wallerstein, Immanuel Maurice, Suvremeni svjetski sistem, 11 Franko ovde govori o posebnoj međusobnoj privlačnosti tada će moći da budu dekolonizovana, a sa njima Centar za kulturnu djelatnost, Zagreb, 1986. modernog plesa i radničkih pokreta u Sjedinjenim Državama 30ih i društvena kinestetika decentrirana po uzoru na Williams, Raymond, Marxism and Literature, Oxford University godina, ali njegov pojam nereflektivne performativne ekonomije derivativ, tok koji prevazilazi svoje granice. ■ Press, Oksford, 1977. smeštene u odbijanje radnog tela da se potčini industrijskoj racionalizaciji nalazi odjeka u prilagodljivijem pristupu tumačenju plesnog rada pod raznim okolnostima. Beleške Društvena koreografija TkH 21 71 72 TkH 21 Društvena koreografija Aldo Milohnić Koreografije otpora Društvena koreografija TkH 21 73 TkH 21 Social Choreography December 2013 TkH Journal for Performing Arts Theory no. 21 Social Choreography TkH 21 Social Choreography Content Social Choreography TkH 21 1 Social Choreography

Bojana Cvejić & Editorial Ana vujanović

3 On the Absurdity of Movement: Jeroen Chaplin’s Critique of Social Ido FEDER & A Dancing Body Offers van WIJhE Choreographies in Modern Shir hAChAM Legitimacy to the State 5 Times and The Great Dictator 47 Marko Kostanić Social Choreography; or, the Igor KORUGA Choreography As An Analytical Social Tension of Autonomy Tool For Interpreting Society 11 53 In The Context Of Theatre Aldo Milohnić Choreographies of Resistance Goran Sergej Double Exposure 15 P59RISTAš Ana vujanović The “Black Wave” in the Yugoslav Christine De Social Choreography: Slet: The 1987 and 1988 Day of Youth SMEDT, Benjamin Denomination from Art Practices POhLIG, Saša asentić, Mette 21 In63GvARTSEn, Gabriele KLEIn Collective Bodies of Protest: Social Michael KLIën, Choreographies in Urban Performance Steve vA LK 29 Art and Social Movements Bojana Cvejić Dance War Randy MARTIn Of Dance, Derivatives, 34 73 Decolonization, and Kinesthemes 2 TkH 21 Social Choreography Impressum Impressum

Impressum TkH 21 Tkh Impressum:

Editors of Walking Theory vol. 21 The TkH Journal for Performing Bojana Cvejić, Ana Vujanović Arts Theory is published by: TkH (Walking Theory) theoretical- Authors: artistic platform Saša Asentić, Bojana Cvejić, Christine Kraljevića Marka 4 (Magacin) De Smedt, Ido Feder, Shir Hacham, Mette 11 000 Belgrade, Serbia Ingvartsen, Gabriele Klein, Michael Kliën, Igor [email protected] Koruga, Marko Kostanić, Aldo Milohnić, Randy www.tkh-generator.net Martin, Benjamin Pohlig, Goran Sergej Pristaš, On behalf of the Steve Valk, Ana Vujanović, Jeroen van Wijhe publisher: Ana Vujanović

Translation from English Editor-in-chief: Ana Vujanović into Serbian and from Serbian Responsible editor: Miško Šuvaković and Croatian into English: Art Director: Siniša Ilić Žarko Cvejić Advisory Board: Copyediting and Proofreading: Milena Dragićević Šešić, Ješa Denegri, Žarko Cvejić and Bojana Cvejić (English) Jovan Ćirilov, Aldo Milohnić Ana Vujanović (Serbo-Croatian) The TkH journal is listed in the registry Coordination: of public media, according to Act No. Dragana Jovović 651-03-277/02-01; ISSN 1451-0707

Graphic Design and Layout: This issue was realised as part of Katarina Popović TIMeSCAPES, an artistic research and production platform initiated by BADco. (Zagreb), Maska Prepress: (Ljubljana), Walking Theory (Belgrade), Science Grafomarket studio Communications Research (Vienna), and Film- protufilm (Zagreb) with the support of the Printing: Culture programme of the European Union. Cicero, Belgrade With the support of: Edition of 400 copies Culture Programme of the European Union, Swiss Cultural Programme in the Western Cover Photograph: Balkans, Ministry of Culture and Information Solo dance by Marta Paulin – Brina for of the Republic of Serbia, City of Belgrade Yugoslav partisans, anti-Nazi resistance movement during WWII (Jože Petek, 1943) Belgrade, December 2013

The journal is published under the Creative Commons Licence: This project has been funded with support from the European Attribution – Non Commercial – Share Alike 3.0. Serbia. Commission. This publication (communication) reflects the views only of the author, and the Commission cannot be responsible for any use which may be made of the information contained therein. Editorial Social Choreography TkH 21 3 Editorial

Bojana Cvejić & states, while others may be ambiguous or Ana vujanović ● ● In Social even compelling symptoms of insurrection. Choreography: Ideology as Performance in The associations and misunderstandings Dance and Everyday Movement (Duke University, that may arise from conjoining choreography Durham, NC, 2005), the literary scholar Andrew in the artistic sense with political unrest in Hewitt proposes social choreography as a the social sense merit theoretical attention. new model for a critical post-Marxist analysis The potential for thereby positing a model of of ideology. Tracing the literary tropes and ideology critique has yet to be theorised. choreographic techniques that posited dance as the aesthetic ideal of bourgeois society This issue of the TkH journal features a in literature, social science discourses, and distinct variety of topics, areas of study, and art practices from the 1790s to the 1930s, methods in probing social choreography in Hewitt argues that the bourgeoisie established contemporary art, dance, and performance, a performative mode of aesthetic ideology, as well as in theorising social and political producing, instilling, rehearsing, and reflecting phenomena. Most of the contributions were the social order directly on the level of the specially commissioned for this publication, to body, at the economic base of the relations and address the following issues: the relationship forces of production, which are simultaneously between choreography and social movements material, social, and aesthetic. For a history of in history and at this present time of riots and not only forms but also functions of ideology, protest; contemporary and historical expressions social choreography marks a shift in ideology’s of choreography as a form of aesthetic ideology; mode of functioning that resonates with social choreography in performances of the public concepts from experience economy and affective sphere (Milohnić, Vujanović); choreography, immaterial production. Social choreography dance, and theatricality in the expanded sense of offers embodiment as the mechanism of these terms (Pristaš, Koruga). While some writers ideology, replacing interpellation; it claims that seek to apply or extend Hewitt’s conception in ideology operates as the performance of an theorising protest today (Klein) or analysing the embodied ritual, without any belief involved. representation of historical gestures (Wijhe), others critically examine the concept on its own Whereas Hewitt advances his claims without Marxist grounds (Kostanić) or further elaborate much reference to dance or performance studies, on how it might feature in economics (Martin). a number of choreographers and artists use the Choreography also figures in the analysis of term “social choreography” to describe their the political unconscious of war in historical practices or political concerns. Moreover, in the modernity and contemporary dance and forms past few years we have witnessed how the term of warfare (Cvejić, Hacham & Feder). Finally, we “social choreography” has come to stand for a asked a number of practitioners in European dance equivalent of community, socially engaged, contemporary dance and performance to reflect and – in Claire Bishop’s eloquent discernment on “social choreography” and define the term as – participatory art. The link to the concept’s they use it to denote their own relationship to ideological register remains unreflected in many physical movement, public space, community, art projects that describe themselves as social mobilisation, ideology, and performance. ■ choreography, which gives rise to the question of how movement across dance and everyday social, public or private, behaviour signifies and acts politically or ideologically. In the wake of the recent riots and protests, artists and theorists have sought parallels between choreography and social movement, some of which are little more than wishful and unproblematic attributions of political agency to bodily movements, gestures, postures, or 4 TkH 21 Social Choreography Jeroen van Wijhe Taylorism, Nazism, and the Tramp: Charlie... Social Choreography TkH 21 5 Taylorism, Nazism, and the Tramp: Charlie Chaplin’s Critique of Social Choreographies in Modern Times and The Great Dictator

Jeroen van WIJhE ● ● controversial. With his stance against liberal or the radio – and in picture words that all can Introduction ● The release of Charlie capitalism, he essentially critiqued the dominant understand. (Sbardellati & Shaw 2003, 500) Chaplin’s motion picture Modern Times in 1936 ideology of the era and country he inhabited marked a turning point in his career. Not only did at the time – 20th-century America. Moreover, Chaplin’s next film would also critique a it signal his transition from silent films to talking since he was one of the best-known artists of dominant ideology. In The Great Dictator, Chaplin pictures (symbolised by the final appearance of his time, his political message could reach and uses comedy to satirise the national-socialist his famous Tramp character), but also became influence a global audience. Chaplin’s political regime of Adolf Hitler. Like Modern Times, The the first in a series of explicitly political films by voice did not go unnoticed by the FBI, who Great Dictator was controversial and influential. Chaplin. Modern Times examines the conditions started monitoring him in 1942. According to The American and British governments were of life during the Great Depression. It portrays a an article sent to J. Edgar Hoover in 1944, initially apprehensive about the film, fearing society increasingly dominated and destabilised it would jeopardise their appeasement policy by capitalism, where the streets are filled with There are men and women in far corners of the toward Nazi Germany (Brownlow & Kloft protesting citizens and factories with workers world who never heard of Jesus Christ; yet they 2002; Friedrich 1986, 50). However, as the required to function like “cogs” in industrialised know and love Charlie Chaplin. So when Chaplin war escalated, the film became very popular, machines. Chaplin’s newly found “political makes a picture, his thoughts reach a far greater due to its clear anti-fascist propaganda value. voice” would prove to be both influential and audience than do the newspapers, the magazines While Hitler had the film banned in Germany 6 TkH 21 Social Choreography Jeroen van Wijhe and all the occupied countries (Cole 2001, 149), Frederick Taylor. According to Taylor, American scientific research would be too difficult for The Great Dictator would become Chaplin’s industry was mostly serving the interests of workers to understand. Therefore, they are commercially most successful picture, the employers, at the cost of the employees. tasked with physical labour, while managers grossing $2 million in the United States and In his manifesto, The Principles of Scientific are charged with research and organisation. $5 million worldwide (Flom 1997, 145). Management (1911), Taylor proposed a system A direct consequence of this is a relocation In Modern Times and The Great Dictator, that would serve the interests of both the of craft knowledge. Whereas workers in the Chaplin used the medium of film to create an employers and the employees, by giving the scientific management system are only required influential counter-perspective to two ideologies employees higher wages and the employers to perform physical labour, the knowledge of prominent in his lifetime: liberal capitalism and higher production outputs. The system became the trade is relocated to the manager. Taylor’s national socialism. This essay is focused on a known as “scientific management” or Taylorism. rationale for this relocation is that agricultural specific underlying strategy that Chaplin used to The main tenet of Taylorism is the raising of workers rely on rules of thumb, acquired make his political statements. While speech was labour efficiency by replacing old rules of thumb through experience, while Taylorist managers introduced in Modern Times and established in (which Taylor describes as remnants of the old base their knowledge on scientific research. The Great Dictator, Chaplin’s films communicate agricultural society) with scientific principles. Thus far, the principles of scientific largely through movement. In those two films, These principles were meant to result from management have mostly served the interests a recurring theme is the use and adaptation research pursued by a management team. of the management, by raising the output of of certain societal movement patterns. These Consequently, the authoritarian figure of the the workers. For the latter, the attraction of patterns can be explained with the concept of employer is replaced by a team of managers scientific management lay in the promise of social choreography (Hewitt 2005). Andrew overseeing different aspects of production. higher wages. According to Taylor, workers were Hewitt defines social choreography as the Taylor charges these managers with four not being motivated enough to work hard, due embodiment and rehearsal of an ideology tasks. The first task is to develop a scientific to fixed hourly wages. In other words, working through dance or everyday movement. In this approach to each element of the job. According harder would only result in a loss of energy, not essay, Chaplin’s critique of liberal capitalism and to this principle, the application of statistical in higher wages. A more extreme consequence national socialism is examined through the lens of analysis would eventually enhance the workers’ of this system of remuneration is a phenomenon two instances of social choreography, which are productivity. For example, Taylor states that that Taylor dubbed “soldiering”: the tendency of featured in Modern Times and The Great Dictator. calculating the maximum amount of time a workers to invest the minimum amount of effort, In the first section of the essay, his commentary worker can labour before exhausting himself resulting in minimum productivity. Scientific on liberal capitalism is discussed with reference can be used to the advantage of the company. management uses the promise of higher wages to the use of “Taylorised” movements in Modern By introducing breaks and shorter hours, the to raise their motivation and productivity. Times. In the second section, his commentary workers’ energy could be distributed better. Instead of providing fixed hourly wages, scientific on national socialism is examined with focus on The second task concerns developing a management applies a piece-rate payment the use of the Nazi salute in The Great Dictator. scientific approach toward selecting the system, where workers get paid for every most adequate workers for the job. When successfully accomplished task. As a result, the ● ● MoDern TiMeS (1936) selected, these workers must be taught how highest wages are awarded to the most efficient AnD TAYLORISM to perform their jobs as efficiently as possible. workers, while non-efficient or soldiering workers To achieve this, potential candidates would are “punished” by receiving lower wages. Taylorism ● In 1871, an uprising in have to participate in a selection of tasks. After Paris led to the assumption of power by the statistically determining the most successful Taylorism as a Form of Social French working class. Their government became workers, managers would assign each of them Choreography ● The preceding section known as the Paris Commune and marked the to a specific task and help them perform it in an describes the principles of Taylorism. To first revolution of the working class during the efficient manner. For instance, Taylor says that examine Taylor’s system as a form of social Industrial Revolution (Gould 1991). The Paris shovel workers (at the Bethlehem Steel Company, choreography, the present section focuses Commune instilled the American government with where Taylor’s approach was tested) were given on Hewitt’s notion of social choreography, to fear of an escalation of class conflict in their own manuals on a daily basis, instructing them about show how Taylorism might be viewed as such. country. American society had changed greatly proper movements and goals for each day. As In his book Social Choreography: Ideology as following the Civil War. The Industrial Revolution can be inferred from the second task, scientific Performance in Dance and Everyday Movement fuelled the growth of America’s cities and the management emphasises cooperation between (2005), Hewitt describes choreography as social predominance of industry over agriculture in its managers and workers. The third task states in reaction to the narrow modernist conception economy and society. Work opportunities grew, that, for scientific management to be effective, of dance, revolving around metaphysical but so did the divide between the rich and the the management team must implement the subjectivity. Instead, he argues, choreography poor. Furthermore, growing immigration from findings of their scientific research by instructing might also be viewed in social and political terms. Europe introduced the American working class and observing their employees. As described Throughout history, it has been used to rehearse to new ideologies, such as Marxism and trade in the example of the shovel workers, the ways of organising societies, whilst serving, unionism (Merkle 1980, 17). Workers began manager gives each worker a specific task to at the same time, as a “blueprint” for societal demanding more rights, organising protests perform every day, with the underlying incentive organisation. In sum, social choreography refers and strikes, and founding the first national of higher wages if they perform effectively. to choreography as an aesthetic reflection labour unions (Olzak 1989). During this period, Taylor’s final duty for managers prescribes an of, and an aesthetic model for, ideology. the Senate Committee on Labor and Education equal distribution of tasks among the managers To illustrate his thesis, Hewitt refers to the actively investigated the causes of the ongoing and the employees. This principle is strongly English ballroom dance of the 18th century, civil unrest and attempted to find a solution. based on Taylor’s presumption that specific which could be read as a reflection on the One possible solution for the growing unrest tasks in the working place are suited either dynamics of the English bourgeoisie’s social in the American working class was proposed by to the worker or the manager. He states that conduct, as well as a model for social conduct Taylorism, Nazism, and the Tramp: Charlie... Social Choreography TkH 21 7

of human effort. He argued that an efficient use of effort may lead to higher productivity, greater wellbeing, and a “return of prosperity”, in the wake of the devastation of the Second World War (Laban & Lawrence 1947, xi) So, like proponents of the efficiency movement before him, Laban connects the notion of efficiency to the psychological impact of world events. In both cases, efficiency was propagated as a way of coping with radical changes in society, promising its adherents a return of stability and wellbeing in the face of industrialisation and, later, in the aftermath of war.

Modern Times ● After its initial success of the early 1910s, Taylorism became the subject of several points of critique. One of the most prevalent points concerns Taylor’s denial of individual differences among workers. He takes a singular, somewhat condescending view of the worker as a person endowed with low intelligence and a profit-oriented motivation. Furthermore, he implies that every worker ☐ Modern Times, Charilie Chaplin, 1936 a choreographed dance, workers were expected will respond equally well to whatever method to perform an arrangement, based on a syntax proves to be the most scientifically efficient. This in other nations. However, social choreography of preconceived movements. The management view, however, fails to account for differences is not restricted to “artistic” choreography. team could then be seen as the mediator in personality, motivation, and intelligence. As Hewitt speaks of an aesthetic continuum of between a preconceived choreography and its a consequence of these differences, even the social choreography, ranging from the art of performers, instilling an arrangement of efficient “most efficient” practice could not guarantee dance to everyday movement. So, while English movements into the bodies of the workers. that every worker would perform equally well: ballroom dance could be viewed in terms of Efficiency appears to be the key concept in what may be “efficient” for one worker may not social choreography, the same would hold true scientific management. Both time and motion be as efficient for another (Locke 1982, 18–22). for communist spectacles, where state ideology were closely monitored to ensure a maximum Another prominent point of critique was both rehearsed and modelled through level of efficiency in the movement of workers, concerns Taylor’s “deskilling” of labour. Due movement (see Cvejić & Vujanović 2012). resulting in higher outputs (Taylor 1911, 4–50). to the compartmentalisation of professions But how does Taylorism qualify as social The following quotation from Taylor’s manifesto into different tasks and the separation of choreography? Answering that question entails provides an accurate portrayal of his ideology: trade knowledge from labour, workers no answering another two questions: how does “In the past, man has been first; in the future, longer needed education in order to perform Taylorism qualify as choreography and how is the machine must be first” (Taylor 1911, 2). This their jobs adequately. This allowed scientific Taylorism “social”? In other words, what ideology preference for the efficient machine over the managers to hire uneducated, and therefore does it perform? Similarly to Hewitt, dance worker is reflected in his system, which replaces cheaper labour (Littler 1978, 188). In Taylorism, theorist Susan Leigh Foster has argued that agricultural rules with scientific principles and labour came to be defined as a successful the concept of choreography is not confined to where movement, like machines, becomes execution of preconceived patterns of efficient the realm of theatrical dance and that it refers standardised, to ensure higher efficiency and movements, making workers “machine-like”. to a “plan or orchestration of bodies in motion” output. In sum, the choreography of Taylorism This made workers easily replaceable by (Foster 2010, 15). When defined as such, the seems to reflect an ideology of efficiency, other workers and, as technology progressed, notion of choreography is applicable to the whereby a collective of workers performing by actual machines (Merkle 1980, 77). practice of Taylorism, which requires the worker’s economic movements results in higher and faster Finally, the practice of scientific management body to perform preconceived movement productivity. Besides reflecting this ideology, didn’t seem to live up to its promise of equality. patterns in order to be deemed efficient. scientific management eventually became a Taylor opens his manifesto by asserting that One of Taylor’s inspirations, Frank Gilbreth, model for a larger trend in US society. The 1920s the achievement of maximum prosperity for developed a method for assessing the saw the assimilation of Taylorist principles the employer and the employee should be the effectiveness of motions used in production. into other branches of American society, such main goal of management. Instead of favouring Gilbreth filmed workers in production, whilst as higher education and national politics. This the employer, he argues, management should monitoring time with a stopwatch. After filming, development became known as the “efficiency benefit both parties and encourage cooperation he carefully analysed the efficiency of their movement” and purported to bring rational between the knowledgeable manager and the movements. After eliminating all unnecessary order to a society shaken by its transition from executing employee. In reality, however, it movements and combining the most efficient agriculture to industry (Merkle 1980, 81). In the was the management that benefited the most. movements, the next step in Gilbreth’s late 1940s, the notion of efficiency as a stabilising By deskilling the worker and prescribing the method was to create a uniform vocabulary influence was repeated by dance theorist Rudolf manner in which he performed his work, the of movements required for the execution of a Laban, albeit in a different context. Laban studied management effectively gained control over particular task (Price 1989, 3). So, as though in the potential merits of an economic distribution the production process (Braverman 1998, 94). 8 TkH 21 Social Choreography Jeroen van Wijhe

This last point would be hard for Chaplin to Without choreography as an expression of the ● ● THe GreAT DicTATor (1940) attack. Extending equal benefits to the employer ideology of efficiency, the focus now shifts |AnD ThE nAzI SALUTE and the employee would lead to the undoing toward the qualities of movement implied in of private property. Chaplin, however, owned Taylorist choreography. One now notices the The Corruption of a private property himself; in 1919, he co-founded machine-like jerkiness of the screwing-in gesture Greeting ● Hewitt’s concept of social United Artists, the film studio that produced the Tramp has to execute continuously. This choreography is not limited to the ideological his motion pictures. So, accepting this point manner of moving seems even more extreme study of movement as action. In his chapter of critique would amount to critiquing his own when Chaplin removes the Tramp from the on the legibility of gesture, Hewitt expands status. However, the idea that Taylorism leads context of the assembly line. Even during a short his notion of social choreography to include to a denial of individuality and the deskilling of break, the Taylorist choreography seems to the study of gesture. He juxtaposes gesture labour is prominent in the first section of Modern have pervaded the Tramp’s movement pattern: and gesticulation by identifying the former Times, which features the Tramp character at he repeatedly lifts his elbows and twitches his as an intentional performance of movement the fictional Electro Steel Corporation. The first head whilst walking, and eventually begins and the latter as a more spontaneous scene of Modern Times refers directly to the to repeat his screwing-in gesture. At the expression of movement (Hewitt 2005, 82). critique of Taylor’s conception of the worker factory, the Taylorist choreography appears What follows involves an analysis of the most described above. In this scene, a cramped flock of to make the Tramp behave like a machine, basic social gesture: the greeting. However, sheep is shown, followed by an equally cramped echoing the critique of Taylorism as treating describing the greeting as a gesture becomes “herd” of workers. Like the sheep, the workers the worker as a mere part of machinery. somewhat problematic when compared to behave like cattle, being driven in groups to Eventually, the Tramp’s “machine-like quality” Hewitt’s definition. Depending on the formality their factories and each receiving the same grows more extreme, after he literally gets of the context, a greeting can be intentional treatment, regardless of their individuality. The sucked into a machine. Inside this “machine as well as spontaneous. Therefore, this critique of deskilling labour is also implicit in world”, his conditioned screwing-in gesture section is focused primarily on the informal, one of the early scenes of the factory sequence, becomes effective again, since it is used to stop everyday greeting, which involves a habitual where a dialogue takes place between a company the engine. In the everyday world, however, expression of goodwill toward the receiver supervisor and one of the workers. The worker it repeatedly leads him to violate the rules of of the greeting. In his analysis of the Nazi is tall and muscular, and seems able to perform social conduct. First, the Tramp screws in the salute, sociologist Tilman Allert concludes that heavy physical labour. We learn, however, that the noses and nipples of his co-workers and hurts the everyday forms of greeting in Germany man’s job consists only of pulling levers. In the them. Then, he scares a couple of women by underwent a radical social transformation world of scientific management, he seems out of apparently intending to perform the movement with the (compulsory) introduction of the Nazi place. Despite his obvious physical qualities, he on the buttons of their clothes. As a result of salute in 1933 (Allert 2008, 30–70). Before performs a job that anyone with a working pair of his factory movements, the machine-Tramp can analysing this particular greeting’s far-reaching hands could perform. The man, perhaps a symbol no longer adjust to society and is eventually sociological implications for the people of Nazi of the skilled worker of the agricultural age, has removed from it by being incarcerated. Germany, I will presently look at the underlying become a mere cog in the machine of industry. Overall, Chaplin plays with the notion of sociological rationale of greeting in general. However, Chaplin delivers his most striking social choreography in order to comment on the Allert argues that the simple act of greeting commentary on Taylorism by way of its social practice of Taylorism. By detaching Taylorist another person is a prerequisite for human choreography, or by the manner he draws choreography from the image of efficiency it social interaction. It can be seen as a social attention to it. Most of the fragment focuses is supposed to embody, he allows for a closer ritual, involving three distinct steps. First, a on the Tramp, working at the assembly line. look at the choreography itself and those person wishing to establish social contact offers The humour of this scene rests on the Tramp’s performing it. This particular performer, the a greeting. Then, the ritual continues if the inability to keep up with the pace of the assembly Tramp, is presented in Modern Times as a semi- subject of the greeting accepts this offer. Finally, line. This simple fact contains Chaplin’s strategy machine that can function properly only at the subject responds to the offer by returning for delivering social commentary on the social the assembly line. Although Chaplin relies on the greeting. A successful performance of this choreography of Taylorism. By making the Tramp physical exaggeration in his representation of ritual places the two greeting parties in a shared unable to follow the pace of the assembly line, this inability to function, his portrayal of the socio-temporality, where social interaction Chaplin deregulates this specific choreography worker is not that far removed from the reality takes place until a decision is made to leave that of scientific management. By deregulating of actual workers in the early 20th century, as social space by saying goodbye. So, greeting that choreography, he severs its connection factory workers at this time were among the creates a fictional space where individuals share between movement and ideology. If all the most likely to experience nervous breakdowns feelings and information. The symmetry of the workers at the assembly line kept a steady pace, (Blom 2008, 343). By redirecting attention at relation between greeters is often implicit in the the ensuing choreography would produce the Taylorist choreography itself, Chaplin shows greeting itself; a handshake often signals equality ideological aesthetic that Taylorism wanted how the arrangement of movements makes between them, whilst bowing signals inequality, to express; the workers’ choreography would the worker behave like a machine. Moreover, with one greeter signalling humility or submission express a sense of efficiency. This sense of he comments on the lasting effects that this to the other (Lundmark 2009, 7–15). Regardless efficiency is lost, however, when the movement choreography can have on workers’ mental of implicit power relations, however, a greeting is not performed as it should be. The Tramp health, by making the Tramp unable to establishes a reciprocal relation between can’t correctly perform the desired (Taylorist) function outside of his working environment. individuals. Furthermore, greeting tends to signal movement and thereby destroys the sense of So, by painting Taylorism’s idealistic promise goodwill. Allert distinguishes between three efficiency that the movement ought to express. of an orderly, efficient society as a sham, norms that appear in most forms of greeting; The “collapse” of the link between movement Chaplin sheds light on its darker side: the the physical act of greeting signals willingness and ideology in Chaplin’s version of Taylorist maltreatment of workers, the very group to cooperate and a pledge of non-aggression choreography allows for a shift in attention. whom Taylorism initially seemed to favour. (bare hands signal that the greeter is unarmed) Taylorism, Nazism, and the Tramp: Charlie... Social Choreography TkH 21 9 and the oral pronunciation often involves a wish for good health or personal integrity. In sum, the act of greeting is a reciprocal act of goodwill, which creates a space where social interaction between the greeters can take place. By contrast, the Nazi salute introduced one essential element that defeated the traditional purpose of greeting. In gesture and recitation, users of the Nazi salute no longer greeted each other; instead, they were required to greet the Führer. Rather than literally engaging in contact by shaking hands, every citizen of Germany was now required to raise their right hand in an upward direction, as a pledge of allegiance to Hitler. Furthermore, the accompanying exclamation “Heil Hitler!” signalled the wish of good health or personal integrity to the Führer, not to the other greeter. In sum, Hitler effectively became the third party through whom all communication was mediated. The subjects of the Third Reich no longer engaged in direct contact, but were ordered to address and a clear movement used to express it. ☐ The Great Dictator, Charilie Chaplin, 1940 others in the name of Hitler. By transforming The movement in the social choreography of the greeting into a pledge to the Third Reich the Nazi salute is the raised arm and overall more puppet-like than human. Furthermore, and making the pledge compulsory in all forms stiffening of the body whilst delivering the having the crowd wear identical uniforms makes of sociality, the most basic form of social greeting. Performing this movement reflected the spectator unable to differentiate between intercourse became militarised. As a result, the surrender of the subject to the authority individual subjects. Overall, the sequence shows the figure of the Führer entered every aspect of the Third Reich and constructed a society how the salute unifies Hynkel’s subjects into a of the German public sphere. This aided in where every social intercourse had to begin by homogeneous mass by having them perform the the indoctrination of the German population addressing this authority. In sum, the Nazi salute same movement mechanically, at the same pace. by the Nazis, since Hitler was now literally can be seen as social choreography because it Apart from modifying its connotations, omnipresent at every level of society. reflects and rehearses the social order imposed Chaplin also uses the choreography of the Nazi Furthermore, the changed dynamics of by Hitler’s regime by means of movement. salute to show how it fails as a greeting. As the salute led to a sociological change in the In The Great Dictator, the Nazi salute is one of noted in the previous paragraph, the salute population and their perception of the figure the few Nazi symbols Chaplin left intact. Instead, corrupted the common purpose of the custom of of Hitler. Allert describes the development of a he used the salute in its original form in order greeting. Greeters engaged in neither personal “sphere of mistrust” in German society. Greeting to critique it. The strategy he had used to derail nor physical contact, instead entirely devoting was no longer a gesture in the sense of Hewitt’s Taylorist choreography in Modern Times was now their greeting to the Führer. In the second half definition. It no longer signalled a spontaneous applied to the ideology of the Nazi salute. This of the film, Hynkel personally experiences expression of goodwill and safety, but had becomes apparent in the introductory scene the ineffectiveness of the Nazi salute as he become a superimposed, mechanical move. As a of one of the two characters Chaplin plays, the meets his “Bacterian” counterpart, Napaloni result, a growing sense of mistrust and isolation Tomanian dictator Adenoid Hynkel. Like his real- (a portmanteau of “Napoleon” and the figure developed in the German population. Meanwhile, life counterpart Adolf Hitler, Hynkel takes pauses whose caricature the character seems to be: the Nazi salute gave the figure of Hitler an during his speeches in order to allow his audience Benito Mussolini). Both men try to greet each elusive, divine connotation. The only figure that to salute him. During one of these pauses, the other using the salute, but fail to establish had mediated German greetings before Hitler focus shifts from Hynkel to the audience, who are contact; as Hynkel raises his arm upwards, was God. Furthermore, addressing an absent greeting him with the Nazi salute. In this shot, Napaloni offers a handshake and vice versa. figure and raising one’s arm toward the heavens however, the salute is not performed properly; Eventually, both dictators abandon the salute seemed to portray Hitler as a superhuman instead of raising their right arms and holding and resort to the “old custom” of shaking hands. figure, residing in the realm of the gods. them stretched out, the crowd repeat the arm- As a result, social interaction can finally take Finally, the superimposition of the Nazi salute raising movement. By having them repeat the place. In this sequence, there is tension between aided the nationalist sentiment the Third Reich salute, Chaplin makes it look comic and lose the official Nazi salute (or, in Napaloni’s case, sought to promote. Before 1933, Germany its quasi-religious connotation. Again, Chaplin the Roman salute) and the traditional ritual knew several different salutes, which reflected does this to divert attention from the salute of the handshake. By juxtaposing the salute the presence of diverse cultural identities. By as an expression of ideology, to open up other and the handshake, Chaplin shows how the imposing the Nazi salute, the Third Reich forced connotations. The framing of this sequence salute becomes useless as an act of sociality. these different cultures to yield to one national presents the salute not as the celebration of a Because the saluting parties cannot make culture and its expression through movement. semi-divine being, but as the surrender of the physical contact, the social space required individual performing the celebration. In Chaplin’s cannot be created. This again shows how The Great Dictator ● Viewing the Nazi rendering, the movement undoes the individuality the salute reinforced the sphere of mistrust greeting through the lens of social choreography, of its subjects; the simultaneous, precisely-timed that Allert has noted; because those saluting one can discern a distinct underlying ideology raising of their arms renders the Tomanian people never truly greeted each other, but only the 10 TkH 21 Social Choreography Jeroen van Wijhe

imaginary figure of the Führer, the salute could Nazism) by parodying the social choreographies Gould, Roger V. “Multiple Networks and Mobilization in the not create true social interaction or intimacy. that accompany them. In this case, the notion Paris Commune, 1871”. American Sociological Review 56, 1991, One may also wonder why Chaplin decided to of parody is not strictly linked to the parodying pp. 716–729 hewitt, Andrew. Social Choreography: Ideology as Performance confront Hynkel with another dictator. Moreover, of an artistic product. Literary critic Simon in Dance and Everyday Movement, Durham, NC: Duke University he confronts him with a dictator who uses the Dentith has defined parody more inclusively, as Press, 2005 same salute. The introduction of Napaloni further “any cultural practice which provides a relatively Laban, Rudolf von and Lawrence, F. C. Effort, London: MacDonald & Evans, 1947 problematises the working of the salute; if it is polemical allusive imitation of another cultural Littler, Craig R. “Understanding Taylorism”. The British Journal meant to glorify a higher authority, when Hynkel production or practice” (Dentith 2000, 9). In this of Sociology 29, 1978, pp. 185–202 and Napaloni greet each other, whose authority case, Chaplin “imitates” the cultural practice of Locke, Edwin A. “The Ideas of Frederick W. Taylor: An Evaluation”. The Academy of Management Review 7, 1982, pp. is that? Since both dictators use the salute to Taylorist choreography and the Nazi salute and 14–24 glorify their own person, their confrontation reframes them with his own commentary. This Lundmark, Torbjörn. Tales of Hi and Bye: Greeting and Parting inevitably leads to a power struggle. As it turns commentary can be effectuated by breaking Rituals around the World, Cambridge: Cambridge University Press, out in subsequent scenes, Napaloni clearly with the ideology that the social choreography 2009 Merkle, Judith A. Management and Ideology: The Legacy of wins this struggle. When he and Hynkel present in question is meant to accompany, allowing for the International Scientific Management Movement, Berkeley: themselves to the people, the contrast in their a closer physical look at the choreography. This University of California Press, 1980 respective salutes is remarkable: Hynkel barely then opens up space to shed new light on the Olzak, Susan. “Labor Unrest, Immigration, and Ethnic Conflict in Urban America, 1880–1914”. American Journal of Sociology 94, raises his hand, while Napaloni has his arm firmly physical qualities and semantic connotations 1989, pp. 1303–1333 outstretched. As soon as Napaloni raises his arm, of that choreography. This strategy can be Price, Brian. “Frank and Lillian Gilbreth and the Manufacture the crowd starts cheering him. Thus Napaloni further elaborated by another concept discussed and Marketing of Motion Study, 1908–1924”. Business and Economic History 18, 1989, pp. 1–12, http://web.mit.edu/allanmc/ effectively appropriates what are supposed to by Hewitt: the act of stumbling. According to www/TheGilbreths.pdf (30 October 2013) be Hynkel’s subjects. Chaplin undermines the Hewitt, stumbling, or failing to perform a gesture Robinson, Douglas. Estrangement and the Somatics of authority of Hynkel’s persona and salute by correctly, opens the perceiver to the comical Literature: Tolstoy, Shklovsky, Brecht, Baltimore: Johns Hopkins University Press, 2009 directly confronting him with a more powerful malfunctioning of the gesture. To illustrate Sbardellati, John and Shaw, Tony. “Booting a Tramp: dictator. Beside this confrontation, Napaloni this claim, he refers to an anecdote by Balzac, Charlie Chaplin, the FBI, and the Construction of the Subversive also resists using the salute whenever it is who reflected on the nature of walking after Image in Red Scare America”. Pacific Historical Review 72, 2003, addressed to Hynkel. When Hynkel’s minister of seeing a man stumble (Hewitt 2005, 6). Hewitt’s pp. 495–530 Taylor, Frederick Winslow. The Principles of Scientific propaganda, Garbitsch (a pun on “garbage” and conception of stumbling as a prelude to a Management, New York and London: Harper & Brothers an allusion to Hitler’s minister of propaganda, “revelation” of movement can be seen in both Publishers, 1911 Joseph Goebbels), salutes him, he responds by applications of Chaplin’s strategy, discussed patting him on the belly. With this act, he defies above. Only when the Tramp fails to execute the authority of the salute and that of Garbitsch, Taylorist movement in Modern Times does the who, as minister of propaganda, is directly mechanistic, detached quality of the movement responsible for reinforcing the Nazi salute. become apparent. Likewise, Chaplin comments In sum, Chaplin seems to comment on the on the Nazi salute in The Great Dictator by having salute in various ways. Similarly to his treatment it stumble, which prevents it from propagating of Taylorist choreography in Modern Times, he its ideology and allows him to frame it as a attacks the ideological aspect of the salute surrender of individuality and an untenable as a social choreography by not allowing it to gesture for establishing social intercourse. ■ be performed correctly. By having the crowd repeat the salute, Chaplin strips the salute of its semi-divine connotation, which allows him Works Cited: to highlight its de-individualising effect on Allert, Tilman. The Hitler Salute: On the Meaning of a Gesture, New York: Metropolitan Books / Henry Holt and Company, 2008 those performing it. Furthermore, in the train Blom, Philipp. The Vertigo Years: Change and Culture in the West, station scene, Napaloni’s presence prevents 1900–1914, London: Weidenfeld & Nicolson, 2008 a correct execution of the salute in two ways: Braverman, Harry. Labor and Monopoly Capital: The Degradation of Work in the Twentieth Century, New York: Monthly the necessity of greeting each other forces the Review Press, 1998 dictators to abandon the self-glorifying nature Brownlow, Kevin and Michael Kloft (dir.). The Tramp and the of the salute and adopt a more traditional Dictator, documentary, 2002 gesture, while the self-glorifying function of Chaplin, Charles (dir.). Modern Times, film, 1936 Chaplin, Charles (dir.). The Great Dictator, film, 1940 the salute becomes problematic itself when Cole, Robert. “Anglo-American Anti-fascist Film Propaganda in a the dictators use the same salute to glorify Time of Neutrality: The Great Dictator, 1940”. Historical Journal of themselves. In the end, Chaplin mocks the Nazi Film, Radio and Television 21, 2001, pp. 137–152 Cvejić, Bojana and vujanović, Ana (eds.). Public Sphere salute, which symbolises the power of the Third by Performance, Berlin and Paris: b_books & Les Laboratoires Reich and its leader, in various ways and finally d’Aubervilliers, 2012 masters it by having Napaloni “appropriate” Dentith, Simon. Parody, London: Routledge, 2000 Flaig, Paul. “Brecht, Chaplin and the Comic Inheritance of the gesture in Hynkel’s own domain. Marxism”. The Brecht Yearbook 35, “Brecht/Marxism/Ethics”, pp. 1–17 Conclusion ● So how exactly might one Flom, Eric L. Chaplin in the Sound Era: An Analysis of the Seven Talkies, Jefferson, NC: McFarland & Company, 1997 account for Chaplin’s political commentary by Foster, Susan Leigh. Choreographing Empathy: Kinesthesia in means of social choreography? One might say Performance, New York: Routledge, 2010 that Chaplin comments on ambitious ideologies Friedrich, Otto. City of Nets: A Portrait of Hollywood in the (in this case the ideologies of Taylorism and 1940’s, New York: Harper & Row, 1986 Social Choreography, or the Social Tension... Social Choreography TkH 21 11 Social Choreography, or the Social Tension of Autonomy

Marko Kostanić ● ● The purpose kind, which might situate dance and patterns of social and political change may adequately of this text is to re-examine the concept of choreography in social dynamics and historical address. Briefly, the problem emerges in the social choreography from the perspective of relations, but Hewitt’s concept also enables us methodological postulates that Hewitt puts analysing the social function of the autonomy of to discern choreographic mechanisms in the forward, assigning interpretative power to the art, relying on works by Claire Bishop and Stipe domain of “non-dance” social practices as well. concept he seeks to elaborate, even beyond Ćurković. With regard to the social function of Whilst inevitably blowing some fresh analytical the proper field of the aesthetic. That is, social autonomy, there are two key notions. First, one air into the field of dance expertise proper, choreography is meant to help us both as an must always bear in mind the historical locus the second highlighted analytical dimension analytical tool of dance and in social analysis. of the emergence of the autonomy of art as a takes us to a perspective of evaluation that Above all, what Hewitt has in mind is to refresh social fact, that is, the establishment of the encounters a whole series of contradictions. the functioning of the concept of ideology. capitalist mode of production and wage labour, Hewitt denaturalises and demystifies the art Starting from what he considers the classical as well as that it remains the dominant mode of dance, that is, introduces the moment of Marxist conception of ideology, primarily in the of production. Second, the autonomy of art historical contingency into the process of the domain of analysing art, and viewing it as static in the social division of labour is not static. In institutionalisation of legitimate dance art, and mimetic in its analytical manoeuvring, other words, from a materialist perspective, it not only from the position of examining what is Hewitt turns to choreography, whose intrinsic is not crucial what we consider art in terms of allowed and what is not allowed to be considered performativity is meant to revitalise the issue technique, virtuosity, or art history, but to what dance, but also on the broader historical level of ideology. That is, choreography not only types of social activity we ascribe autonomy. of the correspondences and collisions between illustrates a certain ideology, or ideologically the institutional field of dance and various represents a certain reality, it also produces We may approach Andrew Hewitt’s concept social, economic, and political processes. And that reality, that is, serves as a privileged site of of social choreography (Hewitt 2005) from there we reach the thin line where it becomes projecting a new reality. Hewitt emphasises that two perspectives of evaluation. The first is difficult to distinguish social choreography as an logic by claiming that the political is inseparable tied to expanding the analytical apparatus in analytical concept from social choreography as from the aesthetic, or that politics, too, contains approaching dance as an art. Not only does it an analytical symptom. We may define that line an aesthetic moment that is, furthermore, rescue us from metaphysical regimes of reading as the social tension of the autonomy of art. also productive. It makes politics creative. dance, whether predicated on the transcendental That line is not a result of some damning At this point, we may detect three problematic body or elaborations of authenticity, as well epistemological deficit on Hewitt’s part, but aspects. Although he does mention some as from those structuralist regimes that, by rather an effect of the existing social relations more sophisticated Marxist analyses, Hewitt’s reducing dance practice to closed semiotic and social division of labour, which no amount sketch of the Marxist theory of ideology is just structures, prevent affirmative inroads of any of theoretical analysing may avoid, but only too crude. Without delving here into a detailed 12 TkH 21 Social Choreography Marko Kostanić history of various related debates, let us just exceptionally pliable resource in the political art practices that preceded or accompanied point out that ideology performs the function of imaginations of choreographers who use those periods of political upheaval, such as 1917, 1968, reproducing the system and that it is inseparable analyses to legitimise their work. To be sure, or 1989, and those practices’ different roles from its material base, not in terms of a simple there is a direct link between social analysis and and functions in relation to political actors, mono-causal connection, but within a complex the prospect of a social change in the analysed, depending on what political movement they historical and political dynamic. Demonstrating but it requires a different approach. The thesis belonged to, its strength, and, in some cases, that complexity has no use for choreography’s of this text is that Hewitt is inhibited from the authorities that stood behind them. Beside intrinsic performativity. Introducing the economy developing such an approach by the notion of politically turbulent years, Bishop also uses or material base into analysing ideology, with its art’s autonomy in the social division of labour, examples from political orders where the public alleged inertness and crude causality, does not that is, the constant tension that this autonomy sphere and public space were not regulated in simplify the matter, but quite to the contrary, incessantly generates. In what follows, we shall the same way as they are in post-war Western exposes social processes as additionally approach the problem from the perspective of democracies, such as the military dictatorships complex. Also, Hewitt’s and similar outlooks, the contemporary production of art that uses of South America and countries of the Eastern which neglect the economy, assume it as a non- mechanisms from social choreography in a Bloc. In concrete terms, Bishop analyses the performative and fixed sphere of human activity, broader sense, as a tool in the production of art Italian Futurists, Dadaist performances and which effectively corresponds to pro-capitalist and exploitation of that tension. What is that post-revolutionary participatory art in the Soviet views. That is, it implies that economic relations social that is choreographed? How does one Union, the Situationist International, happenings themselves are not relations between people and evaluate such an approach and on what criteria? in Eastern Europe and Argentina, the Community thus also ideological relations, whose degree of Art movement in Great Britain, the curatorial variability corresponds with the intensity of class Claire Bishop, a professor at the CUNY Graduate practices of the 1990s, etc. The key theoretical struggle. To liven up this story with a closely Center Art History Department, has taken up the result of Bishop’s analyses – besides classifying related example: the recent expansion of the task of answering that question, which resulted various dramaturgic-performative-choreographic concept of choreography in choreographic circles in a book, Artificial Hells: Participatory Art and the models used in art projects – is her recognising beyond the narrow domain of dance production, Politics of Spectatorship (2012). The book begins of the grounding of participatory art, or any linked to the concept’s metaphorical potential, with a diagnosis straightaway: over the last two other art for that matter, in the social context is undoubtedly also linked to the lack of funding decades, art has undergone a “social turn”. More in which it seeks to intervene and the political in production and the inevitability of producing specifically, social relations have become its relations pervading it. As her basic theoretical solos and duets, if anything is produced at all. And medium or object, social tissue has become its starting point, Bishop takes Rancière’s analyses an even more radical phenomenon in that regard construction material, whether for the purpose of aesthetics, not just as an explanatory tool, but is the inflation of non-performative formats, such of changing it, or examining or choreographing primarily as a resource for assessing the values of as researches, workshops, publications, and so- it, or experimenting with it. In our local context, individual artistic projects whose logics dismantle called labs, which generate space for imagining examples of participatory art might include some and transcend the dominant obstacles in choreography as a universally applicable concept. recent performances by Montažstroj, or Kristina discussions of participatory art, such as “active” The second problematic aspect is Hewitt’s Leko’s work with milkmaids. The key focus is on vs. passive audience, or singular authorship as analytical establishment of a continuum between the treatment of the audience/public/citizens opposed to collective authorship. In addition, different forms of social labour. This concerns – they are no longer observers from without, they also eliminate the pattern of judging that, not the vitalist gesture that Hewitt rightly and but participate in the production of art or are, like a guilty conscience, accompanies all of elaborately criticises, but his methodological in the final instance, produced as art. And since those projects, curatorial legitimisations, and postulate of intertwining different types of the 1990s, that treatment of the audience, also drunken brawls – ethics. Bishop advocates labour, first of all the artistic and the political.1 known as participatory art, Bishop claims, has introducing aesthetic criteria into the treatment However accurate that may be from some become accepted as the ultimate political art. of participatory art, for political reasons. For, universal perspective of human labour, it tells And Bishop asks, quite commonsensically, why did as she repeatedly points out, if we eliminate us nothing as to why such a division of labour it happen? Of what is that a symptom? And what them from our evaluations, why not compare exists in capitalist society in the first place and might be the most productive analytical approach those projects with other non-artistic, political what sort of political implications it carries. to that artistic practice and how can we evaluate projects, why hide in the sanctuary of art’s And thus we come to the third aspect, it? After setting up her theoretical foundations autonomy, if the aim is to change social relations? directly linked to the foregoing: the concept and her own critical position in the introductory In fact, Bishop argues that the practices of of social choreography conflates two levels of chapter, Bishop begins her historical exploration. participatory art may artistically and politically – approaching social phenomena. It combines an In a series of chapters that ends with an or precisely in the tension between the political analytical approach to a certain social relation analysis of contemporary practices and projects and the artistic – be redeemed only from the and the political potential of transcending that in participatory art, Bishop offers a historical perspective of Rancière’s theoretical analyses: relation. And all of that in a single concept – overview of relevant practices throughout the social choreography, functioning both as an 20th century. Along with contextualising the One of Rancière’s key contributions to analytical tool and a mechanism for politically socio-political situation in which they emerged contemporary debates around art and politics is redeeming the pursuit of art in Rancièrean and analysing the theatre-performative- therefore to reinvent the term “aesthetic” so that terms. The redeeming function is not explicit choreographic mechanisms that were used, it denotes a specific mode of experience, including and Hewitt offers no prescriptions in that regard, Bishop gradually constructs a narrative about the very linguistic and theoretical domain in which but the implications of his analysis serve as an the social tension of art’s autonomy, without thought about art takes place. In this logic, all claims neglecting to offer her own stance concerning to be “anti-aesthetic” or reject art still function 1 Hewitt analyses a number of choreographic phenomena, a productive way to address that tension. The within the aesthetic regime. The aesthetic ranging from Isadora Duncan’s work to the Tiller Girls, a commercial American dance troupe from the 1930s, whom he analyses from basic insight of her historicisation process is her for Rancière therefore signals an ability to think the perspective of the Fordist regime of labour. recognition of the proliferations of participatory contradiction: the productive contradiction of art’s Social Choreography, or the Social Tension... Social Choreography TkH 21 13 relationship to social change, which is characterised analysing contemporary forms of participatory Autonomy of the Aesthetic; Ćurković 2012), by the paradox of belief in art’s autonomy and in it art. What are the social conditions for changing Stipe Ćurković, relying on Peter Bürger’s and being inextricably bound to the promise of a better the regimes of art? How does changing the Paul Mattick Jr.’s analyses of Kant’s theorisation, world to come. While this antinomy is apparent in social modes of production affect changes in offers a somewhat different treatment of the many avant-garde practices of the last century, it the place and function of art in society, the contradictions of art’s autonomy. Ćurković seems particularly pertinent to analysing participatory logic of the autonomy of the art field? How locates the basic impulse of the autonomisation art and the legitimating narratives it has attracted. In did the autonomy of art emerge in the social of artistic labour in reacting to the establishment short, the aesthetic doesn’t need to be sacrificed at division of labour in the first place and how is of the capitalist mode of production and wage the altar of social change, because it always already it maintained? Rancière cannot answer those labour. Further, he defines that impulse as proto- contains this ameliorative promise. (Bishop 2012, 29) questions if he wishes to maintain the coherence political, i.e. not quite articulate resistance to of his theory whereby we recognise politics the capitalist labour market and an invocation of According to Rancière, the still ruling only in dissensual outbursts of the political that free labour, outside the discipline of capitalism aesthetic regime of art that emerged in the are few and far between, whereas the entire and immune to the motivational imperative of Enlightenment was preceded, respectively, regime of social reproduction comes under the turning a profit. The history of that autonomy by the ethical and representational regimes rubric of the police. In that theory, he needs the has been socially articulated through art (Rancière 2005, 115). The first privileged the tension of art’s autonomy and the indecision of institutions, which have always been ridden truth content in images and its purpose, that is, the aesthetic experience as political resources, with tension – between, on the one hand, the effects and aims, whereas the second privileged because every prolonged project or participation constant threat of expanding capitalist relations the logic of a visual regime whereby the fine in the regime of social reproduction amounts to and, on the other hand, the striving of artists, arts assumed specific hierarchical positions treason. That is, his theoretical project cannot embodied primarily in the historical avant- in line with socio-political hierarchies. It is in accommodate viewing art’s autonomy as a social gardes, for transcending the limits of autonomy the aesthetic regime, relying on the originary problem and symptom of the social division and turning that proto-political impulse into a analyses of Kant and Schiller, that Rancière of labour. In the Critique of Judgement, Kant fully articulate political position, unprotected recognises the intrinsic politicality of art as a himself locates the emergence of autonomy as by the enclave of autonomy and released into tool for changing the existing regime of politics a normative obstacle to wage labour, i.e. to the the ruthless dynamic of political antagonisms. and conceptualising new ones. In brief, it is establishment of capitalist social relations: As we know, that enterprise has failed, that is, precisely the inherent indecision of the aesthetic the structural limits of transcending autonomy experience that becomes the political resource fine art must be free art in a double sense: it seem obvious, unless one challenges the of an imagination that helps us to grasp our lived must be free in the sense of not being a mercenary capitalist system of production, which organises political situation as changeable. Thus art is an occupation and hence a kind of labor, whose the social division of labour as well as the epistemic trigger for transcending political dead magnitude can be judged, exacted, or paid for place and function of art in that division: ends, the activator of the familiar Rancièrean according to a determinate standard; but fine dissensus as another name for politics. art must also be free in the sense that, though Measured even by its own immanent criteria, For Claire Bishop, the basic motivation the mind is occupying itself, yet it feels satisfied the project of affirming the autonomy of art has for going with Rancière’s analyses, although and aroused (independently of any pay) without thus proved deeply problematic and contradictory. she does point out certain problems with his looking to some other purpose. (Kant 1987, 190) From the perspective of the proposition that its analytical framework, lies in breaking with genesis constitutes a dislocated reaction to the diagnosing political art as such precisely when Rancière does not treat the autonomy of art problematic of subsumed labour, however, even its it leaves the terrain of art, when it works with as a problem or consequence of wider social successful realisation according to its immanent “real” people, when it engages in certain social processes, but sees in its contradictory nature criteria would merely represent an aspect of a far activities that belong in some other domains, a potential for political redemption. Which more fundamental defeat. A promise of liberated such as those in the purview of social welfare does make it harder for Bishop to accept his labour that limits itself in advance to an exclusive institutions or bodies entrusted with urban theoretical standpoints. Up to a degree, they and hermetically closed separate sphere would be planning. However, Bishop is not suggesting are exceptionally productive in critiquing the irrelevant even if successful, if judged by the scope thereby that such practices are redundant or discourse of glorifying political authenticity, of the problematic to which it constitutes a response. politically problematic in principle, but only but risk turning prescriptive precisely in their The normative affirmation of the ideal of liberated that they should be performed artistically, didactic prescribing of certain kinds of artistic labour on which the project of the constitution of the that is, by using the tension of the autonomy projects and then unwittingly serve as a factor of autonomy of the aesthetic ultimately rests, is one or indecision of the aesthetic experience as reproducing the current social division of labour we cannot afford to discard. But its realisation at the a tool for their political articulation, because and function of the autonomy of art, which can level at which the problem is located demands that without it, there is no inherent purpose in often be regressive in its social character. Here, it be not limited to the separate sphere of artistic positioning such practices in the domain of “regressive” refers not to reactionary political labour, but be generalised to social labour as a whole. art. For, the crucial question is one that we’ve contents, but, for instance, to avoiding getting That, however, is tantamount to its freeing from the already hinted at: from what perspective should its hands dirty with concrete social antagonisms subsumption under capital and the emancipation from we then evaluate those practices? How to by dealing with intrigues concerning its own the dictates of its reproduction. Regardless of the role evaluate their desired political effects? Why forms, which is supposed to be political, but art may or may not in the future play in this, it is first not pursue such projects as regular socio- only assists in reproducing social relations of and foremost a political task. (Ćurković 2012, 46) political projects without artistic dimensions? class, primarily by ideologically legitimating class distinction in Bourdieu’s sense. Unlike Rancière’s, this view offers no tools Rancière’s analysis is useful in the way Bishop for differentiating or assessing the value of uses it, but it remains quite silent on an issue that In his text “Heteronomija rada / autonomija certain artistic practices, but it does offer a Bishop herself raises later on, in the context of estetskog” (The Heteronomy of Labour / The more productive framework for analysing the art 14 TkH 21 Social Choreography Marko Kostanić field, which some works problematise with their analysis of contemporary participatory art. Works Cited: social aspirations especially in groundbreaking But that does not mean one must stop there. Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship, London – New York: Verso Books, 2012 analytical procedures such as Clair Bishop’s. Artificial Hellsprovides an excellent and ćurković, Stipe. “Heteronomy of Labour: Autonomy of the Although she never explicitly articulates a similar comprehensive view of the artistic practice Aesthetic”. Frakcija 60/61, 2012, pp. 34–47 view, Bishop does employ some of its implications of participatory art. It analyses its historical hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement, Durham, NC: Duke University in her analysis. Situating the explosion in trajectories and contextualises the conditions of Press, 2005 popularity of participatory art as a, so to speak, its emergence exceptionally well. It introduces Kant, Immanuel. Critique of Judgment, Indianapolis: Hackett distinct genre since the 1990s onwards, Bishop analytical productive concepts such as delegating Publishing, 1987 notices two crucial socio-political phenomena and outsourcing authenticity and above all that conditioned or enabled that explosion. And moves the debate away from tiring questions both are linked to the collapse of the Eastern revolving around the ethical character of a Bloc and the gradual dismantling of the Western given work – which is the more problematic: welfare state. The first concerns the New Labour if the artist is only a facilitator, thereby also cultural policies, based on the ideology of a shadow manipulator, or if she “controls the creativity and instituted in Great Britain when reality” with her strong authorial signature and the Labour Party came to power in 1997. Beside thus exploits the involved? The only theoretical the by now classical pattern of moving artists criticism that may be levelled at Bishop’s book and cultural workers into certain working-class concerns finding a level where the contradictions neighbourhoods in order to gentrify them, that of participatory art and thereby also those of is, increase their real-estate market value with the autonomy of art are solved. Even though the aura of a creative and fun place to live, she uses analyses of cultural policies and the so as to make poorer residents move out, the broader politico-economic situation, Bishop’s ideology of creativity and participation – relying fundamental theoretical procedure consists of on narratives about the new immaterial economy the Rancièrean gesture of turning contradiction and that we are all middleclass now and only our into a political potential. As already emphasised lack of ambition may keep us back – served as a above, that gesture is really functional up to a smokescreen for some more crucial retrograde degree, but at one point it starts serving as a social processes. Individual creativity and self- solution for every occasion, as redemption for awareness are tools for getting by in the face every political-artistic act. It is set up broadly of a wholesale commercialisation of healthcare enough that it almost allows for arbitrariness in and education and the precarisation of labour the production of evaluating criteria. Bishop is relations. Also, in this whole story we must not aware of the problem of the theoretical starting neglect the rise of the creative industries and point she has chosen and in certain analytical the ideological profiling of the creative as the offshoots she literally transcends it, but at prototypical worker in contemporary capitalism. key times she returns to it as though to a safe The second phenomenon, certainly related refuge. That is, it would be more productive and perhaps even more important, answers if she more explicitly pointed to the limits of another question raised above: why are Rancière’s approach, of which she is obviously artistic projects taking over certain explicitly aware, highlighting its adequacy with regard to political agendas? The answer is simple, but her book’s level of analysis and objectives. Given analytically crucial: because there are no real the constant Maoist dynamic of contradictions political forces to represent those agendas. that we inhabit if we come to the cultural- As we all know, for some 30 years now, we artistic field from the left, leaping constantly have witnessed an utter marginalisation and from the level of artistic production via cultural discrediting of the left, from the labour unions to politics to politics in general, it is important to the parties. Why would some artistic groups or say that no theoretical pattern, no matter how authors take up issues such as unemployment sophisticated, will solve for us the contradictions among women or the devastation of urban of the autonomy of art and its social tensions; environment, if there were strong political only political struggle may accomplish that. forces addressing those problems and offering Which does not mean that in that struggle art concrete solutions? This does not mean to say may be anything at all – on the contrary, as that in such a constellation, artists would not Bishop herself asserts, rigorous value judgements be referring to those problems at all, but their are necessary. How we are going to establish relationship would be completely different, the criteria for those judgements is already a as Bishop shows with the examples of certain political issue. And there, Claire Bishop’s analysis avant-garde movements that were explicitly can help us a great deal. For starters, since more affiliated with certain political parties or serious social change is not even on the horizon, movements. Today’s participatory art and its it offers us outlets into two adjacent sectors, the surrounding discourse would certainly not media field and the education system, without appear as they do, if there were a different which no re-articulation of artistic production configuration of political forces in society. and cultural politics may occur. And it may That must be taken as the starting point of any occur in no other way but participatory. ■ Choreographies of Resistance Social Choreography TkH 21 15 Choreographies of Resistance

Aldo Milohnić ● ● In this text I those previously “exalted” professions, such 1904, 311). This idea was taken up by Russian put forward my first impressions (and, only as doctors, lawyers, scientists, artists, etc., on theorist Pavel Medvedev in the 1920s, who sporadically, first and preliminary conclusions) the market and then turned them into its own included it in his theory of literature: according about some fragments of a very broad topic, paid wage workers. Thus precisely owing to the to Medvedev, “life” becomes the story (or which I would posit under the working title of commodification of art, artists were enabled to theme, motive...) of a work of art only “once it “choreographies of resistance”. Of course, both decide autonomously about their own creative has been refracted through the prism of the “choreography” and “resistance” are terms work. Following Marx, this thesis has been further ideological environment, only once it has taken that may refer to various, including very old, developed by many other materialist-oriented on concrete ideological flesh” (Medvedev 1973, historical time periods and events, but in this theorists of art (Adorno, Attali, etc.). Toward the 17). Althusser was on the same track when he text, I will limit my research interest to a more end of the 19th century, that structural moment argued that art showed not unmediated reality, recent period, chiefly the 20th century and the led to the emergence of l’art pour l’art, which but ideology, “wherefrom it is born, in which it opening decades of the new millennium. Apart autonomised art in ideological terms as well. is immersed, wherefrom it separates as art and from that time scope, on this occasion I will However, as Rastko Močnik observed 30 years to which it alludes” (Althusser 1980, 323). Art reflect on the examples discussed below through ago, the problem with the autonomy of art is that is thus in a specific relationship with ideology: the lens of Andrew Hewitt’s concept of “social this modernist moment of the emancipation of art it is part of the ideological sphere, but strictly choreography” (Hewitt 2005), which seems practice lasted very briefly, because the ideology speaking, it is not ideology itself. Precisely due especially suitable due to Hewitt’s understanding of autonomous art was based on an ideology of to its privileged, relatively autonomous status, of choreography as a term wedged in between exchange, which inevitably caused it to view itself art can establish a relationship with reality, aesthetics and politics,1 as well as his striving as a commodity. That is why the 20th-century without thereby directly relating to that reality. to move beyond the bourgeois understanding artistic avant-gardes (the historical avant-garde Art neither reflects nor interprets reality; even of so-called “autonomous art”. To get to from the early years and the neo-avant-garde of when we are under the impression that the resistance choreography, let us start with what the late 1960s) rejected the idea of autonomous behaviour of individuals in a work of art is a given it is not, or should not be: autonomous art. art and strove to erase the boundaries of a pure reality, it is, Althusser says, nothing but between art and other “spheres” of society.2 only and exclusively “spontaneous experiencing The Autonomy of Art and the But we may also approach the problem of ideology in its relationship with the real” Reality of Ideology ● In order to think of autonomous art by re-examining its (Althusser 1980, 324). Thus the only reality about “autonomous art” today at all, we must first relationship with ideology. I would remind us that art shows is that of ideology. Therefore, venture a few steps back into the past. Namely, of a commonplace from Marx’s Contribution if we may at all still insist on the concept of autonomous art is a category of late-18th- and to the Critique of Political Economy, where autonomous art, then a possible starting point early-19 th-century bourgeois society. Before the he warns that the materials that art uses for of that strategy might be in searching for onset of the Enlightenment, artistic production its purposes are not immediate social givens new, innovate ways of refracting ideological served the court, aristocracy, and church. Among (which was, we might add, wrongly assumed materials, which are accumulating in all spheres other things, the rise of the bourgeoisie brought by realist and naturalist art), but builds its of the currently dominant, neoliberal society. about the liberation of society from its feudal worlds out of its ideologically “processed”, Autonomous art also gave rise to the dilemma bonds and the emergence of the market. This was “refracted” perceptions of them. Invoking of how to determine the boundaries of “the the bourgeoisie’s revolutionary role, discussed the example of classical art, Marx says that artistic”. The essentialist and substantialist by Marx and Engels in The Communist Manifesto. “Greek art presupposes the existence of Greek approach of bourgeois aesthetics is reflected Great changes befell all parts of society, including mythology, i. e. that nature and even the form in its obsessive dealing with ontological the erstwhile venerated professions of the of society are wrought up in popular fancy definitions of “art”, “the artist”, and “the work feudal system. The bourgeoisie first put all of in an unconsciously artistic fashion” (Marx of art”, with no regard for the socio-historical conditions of using those terms and therefore 2 Basically, this remains a key issue today as well. A strict 1 What I am calling “choreography” is not just a way of thinking division between autonomised social “spheres” (economy, doomed to keep ending up in aporias. Bourgeois about social order; it has also been a way of thinking about politics, culture, science…) became obsolete a long time ago and aesthetics accepts the assumption that the relationship of aesthetics to politics. In other words, as a has been kept alive only by the particular interests of various the work of art produces no extra-aesthetic performative, choreography cannot simply be identified with “the establishments within those spheres. In that sense, art is no aesthetics” and set in opposition to the category of “the political” exception at all, which is why progressive art practices often effect and this denial is characteristic of the that it either tropes or predetermines. (Hewitt 2005, 11) attack precisely this ossified structure of the institution of art. “autonomised” sphere of art. In Hewitt’s words: 16 TkH 21 Social Choreography Aldo Milohnić

As the bourgeoisie sought ideological and political The “Autonomous Body” as an often lost or obscured” (Wigman 1983, 306). liberty from the tutelage of absolutist states in the Ideological Assumption of Modern This affected expression of ballet was meant to eighteenth century, art was guaranteed a degree Dance ● The early-20th-century avant- be contrasted by modern dance, “an expression of freedom at the cost of its disempowerment as a garde movements’ battle cry for removing of youth and of today” (Wigman 1983, 305). social force. Within limits one could reason freely the boundaries between art and everyday life The critique of ballet from the positions in art because it was agreed that art was without practice aimed to undermine (and, in its more of modern dance was important in terms of direct social consequence. (Hewitt 2005, 16) radical guises, to bury) the bourgeois institution stimulating reform currents in 20th-century of art along with its autonomy. In the domain of dance art. On the other hand, one must not Herbert Marcuse likewise reflected on that theatre dance, the protest’s cutting edge was forget that the rejection of the “unnatural” historical moment of the autonomisation of aimed at ballet, its physical violence and mental movement of ballet and the celebration art, in his essay on “The Affirmative Character numbing. Thus Isadora Duncan, for instance, of the “natural” dancing body of modern of Culture”, where, among other things, he at the very beginning of the century (around dance are likewise not immune to their own wrote that “only in art has bourgeois society 1902), wrote in her essay “The Dancer of the ideological backgrounds, which were indeed tolerated its own ideals and taken them Future” on the fatal impact of ballet in terms of quite different from that of ballet, but existed seriously as a general demand” (Marcuse causing the bodies of dancers to degenerate, and constituted the skeleton of the new 2007, 100). Admittedly, Marcuse notes, “[b] all for the sake of creating a dancing body that doctrine of “body culture” (Körperkultur), the ourgeois society has liberated individuals, might generate the illusion that the laws of discourse of the “expressivity of dance”, and but as persons who are to keep themselves in gravity did not apply to it.4 Ballet was using the emphasis on “moving from within”, in order check” (Marcuse 2007, 101). A radical critique of wrong methods, because, Duncan argued, “we to, as Martha Graham liked to say, “reveal the autonomous sphere of art was carried out must not force [the body] to make movements the inner landscape” (Graham 2008). In this by Althusser’s circle of materialist art theory which are not natural to it” (Duncan 1992, discourse of modern dance, the “liberated” (Macherey, Balibar, et al.), who developed a 126). That is why the entire world of modern body becomes the central ideologue of a new different approach to the consideration of art dance advocated a return to the “natural” philosophy of dance; this body “doesn’t lie”, practice by means of theorising the concept body, which would no longer be subject to therefore it discloses the truth, authentically of “aesthetic effect”. Namely, if we treat an the ballet drill, searching instead for new and, of course, expressively. This was certainly artwork in isolation, as though it were “a reality possibilities of expression in “free” movement. an important turn in the perception of the complete in itself” (Macherey 2006, 60), we Alongside its theoretical (discursive) critique dancing body, but not for that reason any can explain neither its effects nor why it exists of the ideology of the gracious body of ballet, more immune to the creation of a new myth at all. Besides, Macherey argues, “the work drilled to virtuosity, modern dance opposed of an “autonomous body”5 as an ideological never ‘arrives unaccompanied’; it is always ballet in terms of bodily expression as well, assumption that predicated the project of determined by the existence of other works, its dance practice itself. This was especially modern dance. Andrew Hewitt has likewise which can belong to different areas of production” prominent in Mary Wigman’s expressionist warned us about this implicit ideologisation (Macherey 2006, 113). Furthermore, materialist dance (Ausdruckstanz), a student of Émile in modern dance theory and practice: analysis is extremely critical of the concept of Jacques-Dalcroze and Rudolf Laban. Similarly to “artwork” and recognises it “only to expose it Isadora Duncan, Mary Wigman likewise opposed An entire tradition of modern dance thinking as a necessary illusion” (Balibar and Macherey the fanatical virtuosity of ballet, whose “forms about the body – from François Delsarte through 1974, 37). Namely, aesthetic effect is “also an had become so refined, so sublimated to the at least as far as Martha Graham – shares the effect on socially determinate individuals, which ideal of purity, that the artistic content was too belief that the body cannot lie. Such a belief is materially forces them to treat literary works the very essence of ideology. Pain might serve as in a certain way”. Concerning the literary text, and “readings”. Precisely for that reason may a given text quite the embodiment of a critique of ideology but its which is the subject of Balibar and Macherey’s plausibly cease to be a literary text or become one in relations absence can never mark a position of non-ideological analysis, this means that we recognise it that did not exist before. (Balibar and Macherey 1974, 45) truth, for the reification of the body necessary to 4 The expression of the modern school of ballet, wherein each as a “literary” text, that we acknowledge it action is an end, […] is an expression of degeneration, of living disentangle it from the social milieu it “critiques” “aesthetically” (Balibar and Macherey 1974, 45).3 death. All the movements of our modern ballet school are sterile involves an ideological gesture. (Hewitt 2005, 18) movements because they are unnatural: their purpose is to create 3 However, we are familiar with numerous “border cases” as the delusion that the law of gravitation does not exist for them. well, where it is no longer entirely clear whether the text has […] To those who nevertheless still enjoy the movements, for 5 Bojana Kunst has written about the early-20th-century the status of a fictional narrative or not. Balibar and Macherey historical or choreographic or whatever other reasons, to those I concept of the “autonomous body” in Nemogoče telo (The maintain that the aesthetic effect of a text depends on practices answer: They see no farther than the skirts and tricots. But look – Impossible Body; Kunst 1999, 163–180); here is Kunst on modern of interpretation: under the skirts, under the tricots are dancing deformed muscles. dance and “expressive autonomy”: “A key discovery, discussed A literary text is a text that is recognised exactly for as long Look still farther – underneath the muscles are deformed bones. by poets, philosophers, and dancers, concerns the expressive and inasmuch as it provokes different interpretations, reviews, A deformed skeleton is dancing before you. (Duncan 1992, 124) autonomy or kinetic autonomy of the body” (Kunst 1999, 172). Choreographies of Resistance Social Choreography TkH 21 17

☐ The TkH editorial board had written to the organisation the photograph was staged. In fact, many war that owns the rights to Robert Capa’s works, to ask for their photographers sometimes photographed staged permission to reproduce Capa’s photograph of the “fallen soldier” free of charge. The organisation did not accept our explanation scenes of fighting to render their photographs that TkH is a non-profit nongovernmental organisation and more attractive, and sometimes to enhance that our intention to publish the photograph was guided not their quality as well, which was much easier to by commercial but only educational motives and the desire to show our readers the photograph discussed by our contributor accomplish in the controlled environment of Aldo Milohnić. Since we are unable to pay the required amount staged action than in chaotic situations of war (besides, the TkH journal itself promotes free and open access to operations.6 It is well known (and documented) information and knowledge), we cannot publish the photograph, but only a few witty examples of paraphrasing his “fallen that Capa used the same method on a number fighter”. Since the photograph features a body position that has of occasions, but the question remains whether become a commonplace in the history of photographic art and the famous 1936 photograph was one of them. popular culture, we trust that our readers won’t find it difficult to remember the Capa photograph analysed in our contributor’s The use of photography for propaganda purposes article. We decided to include this note in order to explain why we and the urge of war photographers (or their published all other key photographs in the article (for all of which censors) to adapt the photographed scenes to we received a kind permission from their authors or proprietary institutions to reproduce them without any compensation) the public gaze was discussed by Susan Sontag except this one, as well as to use this opportunity to highlight the in her final book, Regarding the Pain of Others. An ruthlessness and utter social insensibility of organisations that important difference between the authorship of trade in copyright, whose purpose or motivation is not protecting the intellectual property of authors but only and exclusively a painting (or drawing) and that of a photograph making money. concerns how we judge their authenticity:

Wartime Photography: A Document A painting or drawing is judged a fake when or a Piece of Choreography for the it turns out not to be by the artist to whom Camera? ● Whether the body lies or it had been attributed. A photograph – or a not, whether it is authentic in its movement filmed document available on television or the and gesture, whether it is choreographed or internet – is judged a fake when it turns out spontaneously reacting to external stimuli – to be deceiving the viewer about the scene these are important questions in any discussion it purports to depict. (Sontag 2003, 38) of the (spontaneous) ideology of modern dance, but may also be crucial in ideological The authenticity of the photographed scene struggle, an integral part of any radical conflict, is crucial in documentary photography and including, of course, armed conflicts. Instructive thus a hypothetical revelation that the scene examples may be found in photographs made depicted in Capa’s photograph was staged, ☐ Solo dance by Marta Paulin – Brina for Yugoslav partisans, by war reporters, which are often at the centre Sontag maintains, would be devastating for its anti-Nazi resistance movement during WWII (Jože Petek, 1943) of various controversies, due to their high status as an authentic historical document.7 levels of affective-ideological tension, which The importance of the photographic medium image became iconic and the position of the either side may use for propaganda purposes. in documenting history is not disputed and soldier’s body at the time of death, when it was One of those controversies concerns the in that sense we may agree with Sontag that captured by the camera, attained the status of a question of a photograph’s authenticity: is the the controversy surrounding “The Death of a commonplace, which enabled its reproductions photographed scene a documentary testimony Republican Soldier” significantly affects the in various contexts, due to its recognisability.8 of an authentic event, or was it perhaps merely documentary status of Capa’s photograph. But Therefore, today, Capa’s photograph is no staged/choreographed for the camera? This one should not forget that in the meantime, the longer just a testimony to the casualties of question arose already regarding the first military the Spanish Civil War – after all, the horrors of photograph in history that was taken right at 6 The first photographs of war, made by Roger Fenton in the that war are amply documented anyway – but th the front, by Robert Capa, the legendary war Crimean War, during the mid 19 century, were produced with has also become a symbol and the body of the exposure times as long as 15 seconds. To enable Fenton to photographer, in 1936, at the very beginning photograph them at all, in technical terms, the soldiers in his fallen fighter against fascism an inseparable of the Spanish Civil War. This is the famous photographs had to pose, arranged in, so to speak, tableaux part of the global archive of war photography. photograph of a republican fighter falling from vivants – living, frozen images. Photographing fleeting scenes of fighting was made possible only by the development of a bullet from the Francoist rebels. Shortly light, portable cameras that could be used without stands or Partisan Choreography ● In afterwards, the photograph was published by long exposure times. In addition, these new cameras (Leica wars, there is killing on a massive scale, but the French magazine Vu and then by others as cameras, standardised in 1932) used 35mm film, which could sometimes there is also dancing. Photographs accommodate as many as 36 shots, before easily replacing well, including Life magazine a year later. the film. Such a camera was used by Robert Capa as well and of dance scenes are much fewer and when a war At the time of its emergence, no one it was precisely this technological innovation that enabled his photographer does capture such a scene, then it questioned the authenticity of the photograph photograph of the falling soldier to be made at all. 7 “The point of ‘The Death of a Republican Soldier’ is that it is 8 As was the case, after all, with many other photographs and its publication in the media spurred a real moment, captured fortuitously; it loses all value should of war, including those that have been incontrovertibly volunteers from various countries to travel the falling soldier turn out to have been performing for Capa’s demonstrated as staged, such as the famous photograph of the to Spain and help its legally elected leftist camera” (Sontag 2003, 44). This was precisely the cause of fierce raising of the American flag on the Japanese island of Iwo Jima government to defend the republic from debates that started in the 1970s and are still on, concerning toward the end of the Second World War, shot by Joe Rosenthal, the authenticity of Capa’s photograph, the topic of a relatively then a photographer working for the Associated Press. Ever fascism. Much later, in the mid 1970s, the recent documentary film as well (La sombra del iceberg, 2007). since it emerged, the photograph has undergone a myriad of first doubts emerged as to the photograph’s The negatives of Capa’s photographs made in Spain have recently reproductions and paraphrases in a variety of media, including authenticity; the question arose whether Capa been recovered, but the negative of that famous photograph theatre; I know of at least one of them from personal experience was not among them. These negatives are now kept at the – about ten years ago the Zagreb-based theatre group BADco. really managed to photograph the republican International Center of Photography in New York, founded by featured the scene in their performance Ribcage / Rebro kao soldier at the precise moment of his death, or Capa’s brother Cornell. zeleni zidovi (A Rib as Green Walls). 18 TkH 21 Social Choreography Aldo Milohnić is usually a participatory form of dancing, such as social dancing, round dances, and the like, and only extremely seldom solo performances by dancers, especially of modern dance, for instance. Thanks to Partisan war photographer Jože Petek (who, unfortunately, did not survive the war, but his photographs did and are now kept at the Slovenian National Museum of Contemporary History in Ljubljana), we have a few fascinating photographs of Marta Paulin, whose Partisan nom de guerre was Brina, dancing in a grassy meadow in front of a large number of fighters of the newly founded Rab Brigade.9 During the 1930s, Marta Paulin had studied with Meta Vidmar, who had founded a school of modern dance in Ljubljana, after successfully completing her own studies at Mary Wigman’s school in Dresden in 1927. In August 1943, she joined the Partisans and became a member of the 14th Division’s cultural group, which, among others, also included her comrade in arms and legendary Slovenian poet breadth of the woods and climb over the trees. There ☐ Action „Izbris“ / „Erasure“ (Denis Sarkić, 2003) Karel Destovnik Kajuh. Marta Paulin thus decided was no imitation in my dancing, which would stem to take part in a revolution in which she could from formalist moves. I rejected almost all that I had elites, the dictatorship of capital and autocrats dance, as Emma Goldman would (probably) say.10 “learnt” in my dance studio years, I was looking for of various political colours and ideological Some 30 years later, she described her Partisan genuine, fresh dance expression, which stems from persuasions, etc., are perhaps the best examples dance performances herself, in a memoir note: the vital human need to move. (Paulin 1975, 25–26) of what Hewitt calls the performative (or integrative) aesthetic ideology, as opposed I became a dancer on outdoor stages. Instead of Sadly, Marta Paulin Brina, one of the most to the (typically bourgeois) mimetic aesthetic dancing on the boards of a theatre stage, suddenly, talented pioneers of modern dance in Slovenia, ideology.12 This performative or integrative kind I was dancing anywhere. The feeling of balance was finished her career in modern dance after only of art may be reached only by means of a radical once again a “problem”. The musculature felt different, six months with the Partisans, because her legs reform of the art sphere, but the problem is that because the legs had to find support now on stony, froze during a campaign that the 14th Brigade the status of art cannot be changed under the now on soft ground. That was the first thing I noticed. undertook in Styria. But fortunately, Jože Petek’s auspices of bourgeois society, because it would But after that, there was the other thing, too. That photographs have preserved at least a few entail a radical change of that society as a whole, boundless natural space enables and demands much scenes from the all too short career of Brina the not only that of art as such. The experiences of more sweeping movements. On an outdoor stage, a Partisan dancer, which makes them an invaluable 20th-century avant-garde and neo-avant-garde small move from an indoor theatre turns into a whole source in the history of Slovenian modern dance, movements show precisely that no reform of art march. If I was going to master that huge space and which in its own peculiar way took hold even in practice, however radical, will suffice without be accepted in it, my dancing moves had to become the extreme conditions of the Partisan struggle. simultaneous radical changes in society. That big, clear, broad. [...] Standing, by myself, before Thanks to its fusion with a people’s resistance is likewise suggested by art practices that a multitude of fighters and realising that I could movement, this peculiar Partisan choreography emerge in turbulent situations of social change express, with my gift of dancing and my feeble body, came close to the ideals of the avant-garde, by and participate, in their own peculiar ways, that which connected us, that I could master even accomplishing, as noted by Partisan art historian in the ideological struggle to incite, achieve, that boundless natural space, I felt power in my feet, Miklavž Komelj, “what avant-garde theatre stood and interpret those changes. The aesthetic whilst treading the hard earth. My arms could feel the for, in the most primitive of conditions” (Komelj sophistication of resistance art lies precisely in 2009, 120) – a direct and unbreakable bond its freedom from all aesthetic concerns. If anyone 9 The brigade was named after the island of Rab because it between the performer and the audience.11 could dance, as Laban claimed, then there has comprised inmates from the fascist concentration camp on that island, who were interned there until the surrender of Italy in Times that give rise to mass resistance to be room for everyone in the choreography September 1943 and thereafter mostly evacuated to Slovenia. movements, often also involving artists of of resistance, because no one may be denied Due to the exhaustion of its fighters, the unit was not active as a most diverse profiles and backgrounds, such as their right to dance the revolution as best they separate brigade for long; when it was disbanded, its fighters were assigned to a number of other Partisan units. antifascist movements (the Spanish Civil War, can. When in the mid 1990s, during the Siege of 10 Of course, this is a reference to a well known line by that the National Liberation Struggle in Yugoslavia, Sarajevo, Haris Pašović initiated the Sarajevo famous feminist and anarchist: “If I can’t dance I don’t want to etc.), anti-colonial movements, more recently be in your revolution”. But that statement is not grounded in 12 A mimetic aesthetic ideology would be one in which the historical facts either, because Emma Goldman never actually movements for protecting various minorities’ artistic representation of a better life serves to blind the audience said or wrote it down. The line was conceived (and used as a human rights, protests against corrupt political to the social realities in which they live. […] Aesthetic satisfaction propaganda slogan, printed on t-shirts) by an American anarchist in the mere “symbol” of a social utopia distracts us from the activist in the 1970s, as a possible paraphrase of an excerpt 11 A contemporary report on the solemn pledge of allegiance political praxis necessary to bring that utopian condition about in from her autobiography, Living My Life, which was confirmed first taken by the Rab Brigade and the accompanying cultural reality. Art serves as a sop for unrealized political action. […] What hand by Alix Kates Shulman some 20 years ago in “Dances with performance, which also featured Marta Paulin Brina’s dance I am calling the performative or integrative aesthetic ideology, Feminists” (Shulman 1991). Like Robert Capa, Emma Goldman solo, states, among other things, that the fighters’ spirit during meanwhile, is one in which art does not simply misrepresent, in a took part in the Spanish Civil War and assisted the Spanish the cultural performance was “magnificent” and that there were palliative manner, an existing social order. Instead, the aesthetic anarchists in spreading news of the fighting with Franco’s fascists no differences between “those performing and those watching”. now becomes the realm in which new social orders are produced (e.g. she took care of their correspondence in English and edited (Quoted from Potočnik 1975, 278; the original report is kept at (rather than represented) and in which the integration of all social the English edition of the anarcho-syndicalist newsletter). the Military Archive in Belgrade.) members is possible. (Hewitt 2005, 21) Choreographies of Resistance Social Choreography TkH 21 19

Film Festival, journalists allegedly asked him: to open up space for theoretical reflection on metaphors, initially used to attack certain social “Why a film festival in the midst of war?” and he what is happening here and now, before our groups, but then recuperated by those very responded by asking them in return: “But why a eyes, which indeed involves us, in one way or groups, by means of their own engagement, and war in the midst of a film festival?”. Zoran Bečić, another, aware that it demands instant reflection, turned back, like a boomerang, at those who had an actor from Sarajevo who likewise tasted life whereas new, more adequate theoretical tools originally sent them into the public, as offensively in wartime Sarajevo on his own skin, has tried to for realising it have yet to be constru(ct)ed [iz(g) constructed verbal or iconic degradations. explain the rationale of stubbornly performing raditi]. But of course, none of this is restricted Ten years have passed since a significant act theatre plays under constant shelling: to contemporary forms of resistance, since of this type was performed by a group of the one finds similar attempts at conceptualising Erased13 and other activists on 8 October 2003 I was not part of a theatre that sought to new performative-political practices in almost outside the Slovenian parliament building at the glorify any sort of politics, party, platform. all the emancipation movements of the centre of Ljubljana. Dressed in white overalls, My theatre was literally fighting for life, for previous century, e.g. Proletkult of the Soviet the activists occupied the road in front of the the life of the city and its citizens, for the Revolution, the “urgent theatre” (teatro de building, lay down on the road, and arranged life of artistic creation. (Diklić 2004, 35) urgencia) of the Spanish Civil War, the “frontline their bodies in a 30-foot configuration that read theatre” (frontno gledališče) of the Slovenian “IZBRIS” (ERASURE). They were protected from In such art, tools of artistic expression Partisans during the Second World War, etc. incoming traffic by activists holding banners inevitably turn into weapons of resistance – in that featured the No Standing Anytime sign and line with Brecht’s motto: “Reach for the book: The Subversive Re-appropriation an inscription that said “Keep driving! We don’t it is a weapon” and the Partisan dancer Brina’s Method in Choreographies of exist”. The action was provoked by statements understanding of dance and the poetry of her Resistance ● Toward the end of this text, made by certain politicians, including members comrade in arms Kajuh: “As a creator in dance which, as I already pointed out in the introduction, of parliament, claiming that the erased “don’t expression, I stood side by side with a poet who is only a preliminary reflection on choreographies exist”, that they were made up by “enemies of used poetry as a weapon” (Paulin 1975, 26). of resistance, that is, something that presently Slovenian statehood”, that those people had An art that perceives itself as a “weapon” could not amount to much more than a hybrid “erased themselves”, and similar inanities. The may be only one that has radically renounced its construct, I would like to at least outline some activists were thereby warning about blatant autonomy and that – not despite but precisely possible parallels with contemporary activist- violations of the erased citizens’ human rights, in line with that stance – does not claim to performative practices in Slovenia. I have already by re-appropriating the politicians’ claims about compensate for armed struggle in times of war, or written about some of them on several occasions “the non-existent erased”. They were thus political struggle in times of peace. Particularly (e.g. Milohnić 2005 and 2013) and here I may throwing back their original message to those at times that give rise to mass movements of only point to those earlier observations, some politicians in the reverse form and in line with resistance against military, physical, verbal, of which should be analysed in more detail in a the autonomist tradition stemming from the structural, and other forms of violence, the separate essay. On this occasion, I would single concept of using one’s own body as a means erstwhile separate and “autonomised” spheres out only two examples that might be interesting of direct political action. Izbris was structured of art and politics usually coalesce in an in reflecting on various forms of choreographies as a gestic performative that irrevocably links organic way and then we may no longer denote of resistance. They are predicated on a witty gesture and utterance, or, in other words, the them using the old terms, burdened with employment of the subversive re-appropriation body and the signifier. If, according to the classic sediments of tradition and ideology. Coining method – appropriating or adopting previously (Austin’s) definition of a performative, “to utter new or hybrid terms (such as my own attempt infamous or defamatory expressions or the sentence (in, of course, the appropriate with “artivism”) is a visible expression of that circumstances) is not to describe my doing of theoretical frustration, as well as an attempt ☐ Uprising of zombies (Miha Fras, 2013) what I should be said in so uttering to be doing or to state that I am doing it: it is to do it” (Austin 1962, 6), then we may say that introducing a gestural performative is an attempt to extend the speech act into the domain of the visual: physical and bodily acts, gestures, graphisms, and the like, in a word – non-verbal but nonetheless performative acts. A physical act generates an illusion of a speech act: the activists’ bodies, originally acting in the domain of performance or action (actio), are literally incorporating a statement by means of the materiality of their bodies and thus enter into the domain of utterance or pronunciation (pronuntiatio), in a non-verbal, but nonetheless eloquent manner. This actionist corpography produces a metaphoric condensation: the performative dimension of the utterance of “izbris” lies precisely in using the activists’ bodies to make it.

13 The Erased are a group of over 25,000 citizens of Slovenia whose names the government of Slovenia erased from the public register of permanent residents in 1992, thereby depriving them of their legal, political, and social rights – Translator’s note. 20 TkH 21 Social Choreography Aldo Milohnić

The absurdity of the predicament of over account for their considerable personal fortunes Works Cited: 25,000 citizens of Slovenia, turned into “dead (especially Janković), Janša’s government fell Althusser, Louis. “O razmerju umetnosti do spoznanja in ideologije”, in Zoja Skušek Močnik (ed.), Ideologija in estetski souls” by bureaucratic thinking, is ironically apart and Janković had to give up on his appetite učinek, Ljubljana: Cankarjeva založba, 1980, pp. 322–327 shown in the banner, which tells drivers to to become the next prime minister. Around that Austin, John Langshaw. How to Do Things with Words. Oxford: disregard what is going on outside the parliament time, on the Internet page of Janša’s Slovenian Clarendon Press, 1962 Balibar, Étienne and Macherey, Pierre. “Sur la littérature building, because its actors “don’t exist”. In Democratic Party there emerged a claim that comme forme idéologique: quelques hypothèses marxistes”. other words (and in contemporary performance the protests were staged by the “communist Littérature 13/4, 1974, pp. 29–48 theory jargon), playing with the implicit metaphor international” and that they were not an uprising Diklić, Davor. Teatar u ratnom Sarajevu: 1992–1995. of dead souls enabled the activists to label of the people, but an “uprising of zombies”. The Svjedočanstva. Sarajevo, Bosnia and Herzegovina: Kamerni teatar 55 – Zemun, Serbia: Most Art, 2004 an event or performance as a non-event or protesters immediately re-appropriated that Duncan, Isadora. “The Dance of the Future”, in Selma Jeannne afformance: if the key actors of an event “don’t statement and started dressing up as zombies, Cohen (ed.), Dance as a Theatre Art: Source Readings in Dance exist”, then one might conclude that the event which saw all of Ljubljana crowded with zombie- History from 1581 to the Present, Princeton, NJ: Princeton Book Co., 1992, pp. 123–128 as such does not exist either. However, given like creatures at the very next protest. Gonsalo, Horhe Fernandes [Gonzalo, Jorge Fernández]. the characteristic feature of every performative Janša’s party’s defamatory quip thus incited Filozofija zombija, Belgrade: Geopoetika izdavaštvo, 2012 act that the utterance it makes is neither true a wave of corpographic and choreographic Graham, Martha. “I Am a Dancer”, http://pedc-journal. blogspot.com/2008/06/i-am-dancer.html, 2008 (23 November nor false, we must begin by assuming that the creativity on the part of the protesters, because 2013) constative aspect of the utterance bears no there was probably no protester who had not seen hewitt, Andrew. Social Choreography: Ideology as Performance direct consequences on the materiality of the at least one zombie film, a genre that, starting in Dance and Everyday Movement, Durham, NC – London, UK: Duke University Press, 2005 act; therefore, the performative nature of the with Romero’s Night of the Living Dead (1968), Komelj, Miklavž. Kako misliti partizansko umetnost? Ljubljana: resulting situation establishes a position where might make for an entire filmography all by itself. Založba /*cf., 2009 the act, merely by existing as such, generates the And there was also the wealth of pop-cultural Kunst, Bojana. Nemogoče telo. Telo in stroj: gledališče, possibility of its own negation, or, in other words, artefacts, ranging from novels, short stories, and reprezentacija telesa in razmerje do umetnega, Ljubljana: Maska, 1999 guarantees a constellation where a non-event is comics, to TV series and zombie video games, Macherey, Pierre. Theory of Literary Production, London – also an event. As we perceive that circumstance not to mention an entire mythology of the living New York: Routledge, 2006 already on an intuitive level, we attribute an dead, dancing their danses macabres on church Marcuse, Herbert. “The Affirmative Character of Culture”, in Douglas Kellner (ed.), Art and Liberation, London – New York: ironic meaning to the statement “we don’t exist” frescoes since medieval times. Since losing power, Routledge, 2007, pp. 82–112 and immediately understand it as an intentional it seems as though the former prime minister of Marx, Karl. A Contribution to the Critique of Political Economy, contradiction that refers to the absurdity of Slovenia had succumbed to a zombie persecution Chicago: Charles H. Kerr, 1904 Medvedev, Pavel Nikolaevich. The Formal Method in Literary the position of the erased and, at the same mania, discussed by Jorge Fernández Gonzalo in Scholarship: A Critical Introduction to Sociological Poetics, time, offers a key for reading the entire event. his recently published book, Filosofía zombi: Baltimore, MD: Johns Hopkins University Press, 1973 For Izbris and other similar, direct actions, what Milohnić, Aldo. “Direct Action and Radical Performance”. Performance Research 10/2, 2005, pp. 47–58 is key is using the body not as representative A zombie is the other, I see my own reflection in Milohnić, Aldo. Teorije savremenog teatra i performansa, anymore but as constitutive and, as such, him, the putrid reflection of bodily decomposition. Beograd: Orion art, 2013, pp. 131–148 mobilised into contemporary practices of A minimal difference between one and the other, Paulin, Marta – Brina. “Plesna umetnost v partizanih”, in Filip despite the maximum distance that must be covered Kalan et al., Partizanska umetnost, Ljubljana: Zveza kulturno- resistance. We are already familiar with similar prosvetnih organizacij Slovenije – Delavska enotnost, 1975, pp. corpographic uses of the body, both from past between life and death. (Gonsalo 2012, 29) 20–27 artistic practices, especially in the field of Potočnik, Franc. Koncentracijsko taborišče Rab, Koper, performance art and action painting, as well as Trying to terrify people with alleged Slovenia: Založba Lipa, Kopar, 1975 Shulman, Alix Kates. “Dances with Feminists”. Women’s in more recent political initiatives. Lately, there conspiracies of some phantom “communist Review of Books 9/3, 1991, http://sunsite3.berkeley.edu/ has been another uprising of those who “don’t internationals” well into the 21st century speaks Goldman/Features/dances_shulman.html (23 November 2013) exist” in Slovenia; this time, it was not (only) the volumes about the paranoid minds of those Sontag, Susan. Regarding the Pain of Others, New York: Farrar, Straus and Giroux, 2003 Erased, but also all those whom Slovenia’s right- who use such qualifications to discredit their Wigman, Mary. “The Philosophy of the Modern Dance”. in leaning political elite regards as “ghosts from political opponents. Precisely those “zombie Marshall Cohen and Roger Copeland (eds.), What Is Dance? the past”, the communist “living dead”, in a word categories”, to borrow Ulrich Beck’s term, are Readings in Theory and Criticism, Oxford – New York: Oxford University Press, 1983, pp. 305–306 – “zombies”. This wave of mass uprisings against weighing, as dead conceptual frameworks, on the corrupt political elite began in early winter the brains of the political living dead, who are of 2012, in Maribor, as a protest against the local trying to revive them for their own ideological authorities headed by the then mayor Franc purposes, as, in Gonzalo’s words, “shadows of Kangler, now the defendant in a number of court another time, the tottering corpses of linguistic cases concerning shady deals at the expense of constructions that are only a reflection of the the city and benefiting Kangler’s own pockets. greyness of centuries gone by, of the cobwebs From Maribor, this wave of mass demonstrations of their own futility” (Gonsalo 2012, 97). spread across Slovenia and several of the most In lieu of a concrete and coherent conclusion, massive protests were held in Ljubljana at the at the end of this still somewhat heterogeneous beginning of this year, against the leader of theoretical “work in progress”, I would only Slovenia’s then rightwing government Janez Janša express my hope that the proposed concept of and Zoran Janković, a self-proclaimed leftist (but the choreography of resistance will not end up really one of Slovenia’s biggest tycoons) and to soon in a catalogue of zombie categories, at mayor of Ljubljana. Under much public pressure least not before it receives a more thorough and and due to a report published by the Commission comprehensive explication, which will first entail for the Prevention of Corruption, which accused researching the many inspiring choreographies of precisely those two politicians for failing to resistance of the 20th and early 21st century. ■ The “Black Wave” in the Yugoslav Slet Social Choreography TkH 21 21 The “Black Wave” in the Yugoslav Slet: The 1987 and 1988 Day of Youth

Ana vujanović ● ● Slets were a association was made for other reasons, which Hungarian Empire and became a transnational form of mass events that were staged in socialist take us directly into the history of the slet and (Pan-Slavic) movement of emancipation and Yugoslavia on a variety of occasions. The most its social functions. First of all, it is well known liberation. In the SCS Kingdom and Yugoslavia, famous and spectacular slets were staged on that Tito seriously counted on Yugoslavia’s the movement became especially popular under the Day of Youth, every May 25th, at the Yugoslav “youth” and tried to forge a direct link between King Alexander, whose son, the future King People’s Army Stadium in Belgrade. The slet was them and himself, and that he used his speeches Peter II Karađorđević, was made the national the central and final event of every Day of Youth, to interpellate them as those who would head of the Yugoslav Sokol movement. The King preceded by the Relay of Youth. The Relay was eventually take over and continue down the supported the movement, in both symbolic and a form of ceremonial mass run organised every same path, where their elders – Tito’s real terms, by building sokolane (gymnasia), year beginning in 1945 and involving thousands of own generation – were obliged to stop. because he recognised the movement as an youths, who would run for dozens of miles across But that couldn’t happen just like that. To ideological tool of his centralist policy of an Yugoslavia, carrying a baton with a birthday card continue down the path of revolution, which integrated Yugoslav identity. What is important for Josip Broz Tito, the president of Yugoslavia.1 included labour as well as defensive warfare, to emphasise about Sokol slets in relation In 1957, upon Tito’s suggestion, his birthday Yugoslavia’s youth had to be healthy, strong, to the later Day of Youth slets is their mass was made the Day of Youth and Tito’s Relay was and physically and spiritually cultivated and character, on the one hand, and on the other, renamed the Relay of Youth. Still, for the rest of robust. And the spectacular self-performance their amateurism. Although the Yugoslav Sokol his life, until 1980, he remained the “birthday of a slet was the best way to show just how movement was disbanded after the Second boy” of the Day of Youth – every year, he received strong, cultivated, and robust they were. World War and remained so for a long time, the the baton, along with the card, and occupied Sokol tradition of holding relay races and staging the place of honour at the stadium.2 This direct Slet is a noun of Slavic origin, signifying a slets to honour the sovereign was maintained, association of Tito’s birthday with celebrating landing flock of birds and their assembly on the although its ideology changed.3 In addition to youth seems odd, given that at the time, he ground; before it came to denote socialist mass the Sokol movement, the prehistory of the Day of wasn’t young anymore, not even at the beginning events, it was applied to a similar type of rallies Youth slet should also include the 19th-century of the tradition – in 1957, he was already 65 – so organised by the Sokol (Falcon) movement in Turnverein gymnastics movement, initiated by could not really symbolise youth. Of course, the the 19th and early 20th century. The movement gymnastics educator Friedrich Ludwig Jahn in was initiated in Prague in 1862, by philosopher 1 “The most massive was the 1952 event, when over 1,550,000 and art historian Miroslav Tyrš, as a national 3 The question of how and why that was possible opens the Yugoslavs relayed tens of national and local batons for some revival movement, meant to facilitate the Czechs’ far-reaching issue of the relevance of social choreography 80,000 miles.” (Grigorov 2008, 109) liberation from Austria-Hungary. Thus originally unless we move our analytical focus beyond choreography as a 2 The Day of Youth continued to be celebrated even after phenomenon, to its aesthetic continuum in context. On the (dis) Tito’s death, under the motto of I posle Tita – Tito (Even After a nationalist movement, it soon spread across continuity between Sokol and socialist slets, see Manojlović 2004, Tito – Tito). other Slavic-populated areas of the Austro- Grigorov 2008, and Jakovljević 2008. 22 TkH 21 Social Choreography Ana Vujanović

physically and spiritually cultivated and strong man as the bodily carrier of social change, epitomised in the young bodies of gymnasts and fiskulturniks (physical culturalists); the ideas of collectivism and egalitarianism, embodied in mass, participatory performances; and an awareness of the aesthetic aspect of ideology, epitomised in public performances of sports, the arts, and the rhetoric of a specific socio- political agenda. But still, it seems to me that there remains a whole series of questions to address, regarding the syntax and semiotics of a particular slet, in relation to other slets and its own social environment, so that we may draw a politically relevant conclusion from their mutual differences and relations. If it was collectivism, then what kind of collectivism, founded on what, and collectivism in what terms? If it was the realisation of revolutionary aims, then what revolution, when, and in what society? And so on. Without addressing those and similar questions, I’m afraid that the slet en général, with all of its variations and their points Berlin in 1811 and reaching its full momentum ☐ Slet za Dan mladosti, 1987. of contact, may not tell us much about either around the revolutionary year of 1848. Although itself as social choreography, or those social the movement had a rather turbulent history, we physical and then also spiritual potentials, it is choreographies that it promoted and rehearsed. might say that members of the Turnverein were also worth mentioning that the same worldview ideologically close to the Sokols, on account of prescribed sports as part of culture, in the To be precise in my analysis, I will single their nationalist matrix – the founding of clubs post-revolutionary fervour of the USSR. That out, from many years of research, the Day of and festivals devoted to gymnastics in order to is how fiskultura(physical culture) came to be Youth slets, focusing on the one from 1987 and facilitate the unification of the Germans, as well promoted, as preparing the Soviet youth for work the break brought on by the last slet, held in as their physical and moral empowerment. A third and defence, which in turn resulted, thanks to 1988.6 The Day of Youth slets may be taken as line in the genesis of the Day of Youth slet leaves Proletkult ideologues, in massive participatory an illustrative example of social choreography, this romanticist framework and binds it, by way events that stood somewhere in between sports because they explicitly demonstrate – by virtue of of the relay race, to an ideologically different and the arts – not unlike the Sokol slets.4 their publicity, massive scale, and repetitiveness 19th-century movement: the Olympic revival. In At the end of this brief historical overview, – how “ideology is inscribed directly into contrast to the Sokol and Turnverein movements, let me just note that the ideological differences the body”. However, though illustrative, this its ideology was extremely internationalist and separating these different kinds of slets example by itself cannot ultimately explain concerned the whole of humanity, but its forms were great (nationalism, internationalism, the work of social choreography. Namely, of an organised rally and a relay race (featuring Nazism, communism), whereas their formal the slet paradigmatically demonstrates the the Olympic torch, or a baton), which still feature similarities define the slet as a collectivist and performance of ideology in public space, first in today’s Olympic Games as a global sport and egalitarian performance of any social agenda of all in terms of promoting and rehearsing the media event, bring it close to Sokol slets. that seeks monolithic social support – the state ideology, but remains silent regarding its In the early 20th century, the Day of Youth more so, the better – because it rests on mass “aesthetic continuum”, i.e. relationship with the slet had another two ideologically opposed choreographies and performing in unison. social order in which it is realised, or the bodily predecessors: the communist rallies and parades Therefore, en général, it would be difficult to practices serving to internalise and socially of the Soviet Union and similar Nazi events in articulate any aesthetic ideology of the slet realise that ideology. Therefore, in my analysis Germany. Although neither could be easily linked that would be more specific than collectivism of the two final slets, I will pay equal attention to to the socialist ideology of Yugoslavia, the Day and egalitarianism.5 As I have already noted, the choreography and its performance, in their of Youth slet was indebted to them for its ideals the similarities were the following: the idea of a specific contexts. That way, I will try to show the of youth, strength, and physical and spiritual following: that the slet as social choreography culture and persistence as an embodiment of 4 Hence the following announcement in a resolution of the did not show the Yugoslav society as it was the revolution and a public performance of Russian Union of Young Communists, promulgated at the Third but as the Yugoslav state sought to present All-Russian Congress of the Soviets in 1918: “The physical culture collectivism. Furthermore, the rhetoric at the Day of the younger generation is an essential element in the overall itself in public space, as the model of the social of Youth slets and even Tito’s speeches delivered system of communist upbringing of young people, aimed at body, and that the performance of the slet, as a on those occasions seldom strayed from the creating harmoniously developed human beings, creative citizens dynamic system of gestures that embodied that vitalistic worldview introduced by Chernyshevsky of communist society. […] Today, physical culture also has direct model, was also the site of its collapse, where practical aims: (1) preparing young people for work; and (2) in his novel What Is to Be Done?, whose “new man” preparing them for military defence of Soviet power” (quoted in illegible moves and non-gestures emerged as an inspired Lenin so much that he lent the same O’Mahony 2006, 15). embodiment of a “choreographically unconscious” title to his own famous pamphlet. In addition to 5 For instance, 1928 saw the First Workers’ Spartakiad as opposed to the “Western” Olympics, which turned the slet from an adopting this vision of a new man, who becomes ideological playground into a battleground of opposing ideologies. 6 My sources comprised integral footage from the Programme a subject of the revolution by realising his (see O’Mahony 2006, 30–37) Archive of TV Belgrade. The “Black Wave” in the Yugoslav Slet Social Choreography TkH 21 23 slet, a manifestation of the socialist state’s inability to become one with its own society. At the same time, I want to clarify the theoretical grounding of this procedure. Hewitt devotes a lot of attention to analysing bourgeois gesture, defining it as legible and communicative movement, a movement that is linguistically articulated, that is, according to Agamben, “embodied communication” itself (Hewitt 2005, 83). However, he does not juxtapose the bourgeois with proletarian gesture, arguing, in fact, that the very notion of gesture is a bourgeois notion and that therefore there is no such thing as proletarian gesture (Hewitt 2005, 80). But I would say that although gesture may be a bourgeois concept, Hewitt’s conclusion is still premature, because it does not follow that there is no such thing as proletarian gesture, even if the notion may have been “borrowed” from bourgeois discourse. The societies of real socialism were extremely ceremonialised, their ceremonies ranging from mass ideological spectacles to everyday practices, at school, at work, in the media, etc., and generated an ☐ Day of Youth slet, 1987 of socialism, the political significance of the abundance of recognisable and conventional idea of brotherhood and unity, key battles and gestures. Without them, the allegorical quality marked them with his own figure and “observed”: places in the People’s Liberation Struggle, the of the slet, to be discussed shortly, could from a huge portrait mounted onstage and, in life, history of the League of Communists, the story not work, because it wouldn’t be legible, or, physically, from the place of honour at the top of the Yugoslav People’s Army and its origins in conversely, it rested on the assumed existence of the stand, as the personification and guardian the partisan movement, and the like). However, of referential gestures in social life. Another of those ideas. Syntactically, they resembled the mode of its ideological operation is circular, aspect of my analysis concerns “stumbling” baroque festivals – and in that regard, I agree because to “read” a tableau vivant as an allegory, as a non-gesture. The main thesis of Hewitt’s with Branislav Jakovljević, who links them to i.e. to grasp its unobvious meaning, one must study of gesture – with reference to Balzac – is baroque rather than to romanticism (Jakovljević precisely be part of the community, the “linguistic that stumbling, as a loss of gesture, emerges 2008) – in at least two ways. The dramaturgy collective”, whose assumed expression it is. as an explosion of gesture beyond the borders of an event based on a combination of various Only then does the grasped meaning become of legibility. However, if walking, as gestural disciplines, genres, and media (gymnastics, affective and ideology receive its performative self-representation, is preceded by stumbling, dance, music, slogans, and a military parade) is character. Another feature of the Day of Youth then stumbling itself forms the very beginning fragmentary and comprises a series of items, slets were the masses of performers (around of the language of gesture. Finally, it reflects the sometimes amalgamated into “blocks”, i.e. 8,000) and audience, including those present work of social choreography because that not- thematic or generic wholes (1987: military at the Yugoslav People’s Army Stadium (around yet-gesture, that “stumble over the threshold parade, Glumište (open-air theatre), folk dances, 60,000 spectators) plus several million at home, of social mediation [...] marks not just the the thematic block “A Bomb in My Chest”, upon the introduction of live TV broadcasts. moment of nature’s transition into culture – as etc.). Furthermore, and more importantly, the In line with the ideas of participation and in Rousseau, the somatic expressive gestures procedure with which the slet generated meaning egalitarianism, performers included various discovering their communicative value – but any was allegory, a characteristically baroque kinds of young people: schoolchildren, students, moment at which one cultural order, perceived form of expression. In that sense, what the workers, athletes, Pioneers, folk dancers, – or no longer perceived, in fact – as natural, collective body performed at the stadium could Gorani,8 scouts, and soldiers from across the makes place for another. (Hewitt 2005, 87) be interpreted as a “mass ornament” (Kracauer country. In performing terms, this dancing mass 1995), because it appeared to be a condensed of nameless bodies was amateurish (and quite Besides demonstrating the youth’s potential to expression of the people’s experience, its self- un-virtuosic), which meant that the borders bring forth an even better future, the Day of Youth conception, and that of its own history. However, between the performers and the audience slets also promoted the idea of brotherhood and allegory – as described by Benjamin, invoked by were porous and the latter – if it was a younger unity in multiethnic Yugoslavia and the legacy Jakovljević – should not be grasped as merely audience – were interchangeable with the of the People’s Liberation Struggle: the struggle a convention of that expression but as the very performers. This aspect constitutes a significant against fascism and socialism as the state expression of the convention. Therefore, the difference between the Day of Youth slets on agenda. In addition, they were also Josip Broz mass ornaments of a slet are a developed order the one hand and Nazi parades and Prague Tito’s birthday celebrations, although his life and of representation, whereby a tableau vivant is Spartakiades on the other, and especially the achievements were relatively seldom the topic of not only a conventional and static signifier of mass gymnastics of North Korea’s Arirang games. the tableaux vivants at the stadium.7 Rather, he a notion (the five-pointed star as a symbol of In that sense, the slets were indeed an exercise communism), but also carries a “deeper”, dynamic 7 They usually emerged in the form of Tito’s “signature”: his meaning, a whole story about a social subjectivity 8 Members of an eponymous youth organisation dedicated to epaulets, actual signature, the key years of his life, etc. and its history (the history of the development preserving and expanding Yugoslavia’s forests – Translator’s note. 24 TkH 21 Social Choreography Ana Vujanović

on the face of it, it seems inexplicable that these were official events sponsored by the state.

The 1987 slet was preceded by a scandal provoked by the adoption of an ironic proposal for that year’s Day of Youth poster, submitted by the Slovenian group called New Conservatism (Neue Slowenische Kunst) and based on an appropriation of The Third Reich, a painting by Nazi painter Richard Klein. However, the Slovenian artists changed the painting’s ideological features, replacing the Nazi flag in ☐ Day of Youth slet, 1987 the muscular youth’s right hand with a Yugoslav ☐ Day of Youth slet, 1987 flag and the eagle with a dove. A lot has been in social emancipation, because these events, written about this case and it is not the topic performing the pop hits of the time: “Seobe” the state’s greatest, were performed neither by of the present text, so I will leave it here with (Migrations) by Kerber, “Za treću smenu” (For virtuosi, trained to perfection, nor by prominent an open question: did the switch of symbols the Night Shift) and “Stari orkestar” (The Old individuals, but by ordinary people for ordinary really change everything, rendering the ensuing Orchestra) by Đorđe Balašević, “K-15 (Radnička people. That, however, did not jeopardise their scandal just a hysterical reaction on the part odmara se klasa)” (The Working Class on ideological performativity; rather, it enhanced of a paranoid establishment, or did the very Holiday) by Prava kotka, “Bomba u grudima” (A the circularity at the basis of their ideological aesthetic of the image, with its politics of the Bomb in My Chest) by Džakarta, etc. In addition, operation. Admittedly, I must add that, contrary body, carry an ideological burden that linked, there were also populist songs to remind the to the idea of participation but in line with the rather disturbingly, the Yugoslav socialist audience of brotherhood and unity, such as “Hej, idea of young, healthy, and strong bodies as system with that of Nazi Germany? Be that as Jugosloveni” (Hey, Yugoslavs) and “Cijela Juga the carriers of the revolution, there were no it may, shortly before the start of the relay, the jedna avlija” (All of Yuga, One Playground), and disabled or any other kind of “other” bodies poster was replaced with another one, this time the revolution, such as “Nije sloboda sa neba among the performers. I am inserting this remark featuring a green leaf against a red background, pala” (Freedom Didn’t Come out of the Blue). not just out of political correctness, but also with a red five-pointed star emerging from it While the creators of the show clearly insisted because it shows that the slet was basically and “biting” into the leaf (which presumably on professionalism, modernity, and technical a rationally choreographed performance of symbolised youth) – another source of confusion innovation,11 the washed-out quality of its the politically conscious of the Yugoslav state – while that year’s baton was a cumbersome socialist social choreography could be noted and that therefore, strictly speaking, did not Plexiglas cone with eight red drops on the top already in the tableaux, which for the most part engender Kracauer’s “mass ornaments” after all.9 side – which were later interpreted as drops of comprised ideologically weak symbols: a field of Furthermore, this remark also problematised blood and thus announcing the Yugoslav wars. flowers, a four-leaf clover, and a migration scene, the ordinariness of the “ordinary man”, relied The show itself, framed by this ambivalent with two little houses, clouds, and birds “flying upon by numerous emancipatory cultural- iconography, was a hybrid, confusing, and south”. However, the slet would not have been so artistic and social practices, introducing the washed-out socialist spectacle that conflated hybrid and confusing, if its kitsch choreographic argument about the preceding ideological pop culture, folklore, the problems of everyday storybook had not been interrupted by a treatment of ordinariness itself, coming from life, and revolutionary rhetoric.10 The title was Yugoslav People’s Army performance, “Armija an authentic and unrepresentative reality. a rather un-revolutionary cry – Upalite svetlo naša narodna” (Our People’s Army) composed by (Turn On the Lights) – with no explanation as to Kornelije Kovač and performed by Jasna Zlokić, In many ways, the slets of 1987 and 1988 who was languishing in what kind of darkness Mišo Kovač, and Dado Topić. Even though the were different from all previous slets, above or who was supposed to turn on the lights, Day of Youth slet had been demilitarised over all because in these two events, the socialist presumably because it was meant to be clear, the preceding years and there was an agreement social choreography collapsed and disappeared following the circular code of sapienti sat. The with the Army that it would not perform by right in front of the Yugoslav public. They were stadium featured a stage set painted in blue, itself, which meant that, for instance, already held, respectively, seven and eight years after with pop-designed billboards showing scenes in 1979, the audience watched soldiers carrying Tito’s death, in the midst of an economic crisis in from youth life (ranging from sports to rock Pioneers, who were stuffing their guns with Yugoslavia, at a time when the relations between music), as well as personal graffiti sprayed on flowers (Grigorov 2008, 114–115), this time, its constituent republics were growing ever it by the event’s participants during the show. the Yugoslav People’s Army performed alone. more tense, during the political rise of Slobodan The two TV commentators kept referring to Fully armed. And well-trained. The audience did Milošević and his “anti-bureaucratic revolution”, it as “alternative”, probably to highlight its not find it disturbing; the performance of “the shortly before the fall of the Berlin Wall, the contemporaneity and absence of socialist soldiers of the Sun” and “the army of peace”, as breakup of Yugoslavia, and the wars that iconography. Nevertheless, a portrait of Tito was the Army styled itself, thrilled the spectators followed. With the benefit of hindsight, at least still there, this time, even – after a considerable and they benevolently chimed in with the goose- hiatus – not a civilian portrait but one of Tito as a stepping soldiers, singing and clapping, and 9 Which are characterised by unconsciousness, thus: “The guerrilla fighter, complete with a titovka, the side position that an epoch occupies in the historical process can be 11 In the 1980s, the likes of Paja Kultura [Spasoje Grdinić] were determined more strikingly from an analysis of its inconspicuous cap worn by the Yugoslav Partisans. One after replaced by a new generation of young writers with modern surface-level expressions than from that epoch’s judgments another, the stage hosted singers and groups ideas, for whom so-called professionalism came first, whereas about itself. […] The surface-level expressions, however, by personal aspects and emotions were incidental. [...] Žarko Čigoja virtue of their unconscious nature, provide unmediated access keeps stressing the technical parameters of this event. The to the fundamental substance of the state of things” (Kracauer 10 See an earlier and rudimentary analysis of this slet in Cvejić former script writer asserts that the show had its producers, 1995, 75). and Vujanović 2012, 69–70. music editors, choreographers. (Grigorov 2008, 115) The “Black Wave” in the Yugoslav Slet Social Choreography TkH 21 25 thus extending the Army’s performance onto the explains the flimsiness of the tableaux, clearly on the dance “Brankovo kolo” (Branko’s Round stands. And soon far beyond the stands, too. visible in the long shots. Still, the TV crew Dance) by Serbian romanticist composer Josif However, what is most conspicuous is that the probably did not intend to be critical; rather, Marinković, a musical setting of the poem “Đački performance of the choreography of the slet – their implicit critique results from their mechanic rastanak” (Schoolfriends’ Farewell) by another except the performances of the Army and the folk documenting of the state of affairs, mixed with Serbian romanticist author, the poet Branko ensembles (sic!) – was unusually sloppy, resulting populist sympathies for the performers, whose Radičević, while the choreography comprised in faulty, crooked, and failing tableaux vivants, privacy was out of joint with the socialist striving a medley of round dances. As the lengthy and which made one grateful to the TV commentators to abolish the privacy of private life and make tumultuous dance reaches a crescendo, the for their explanations, “translating”, for instance, it public. When Dušan Makavejev, back in 1962, two TV commentators seek to match it with the chaos on the pitch as “a field of flowers”. made one of the famous films of the Yugoslav a counterpoint of their own. They openly read This aesthetic commentary affirms what Hewitt Black Wave, Parada, this documentary was it as a symptom of growing nationalism and suggests in his analysis of gesture when he considered a serious critique of society because criticise the performers for splitting apart and highlights stumbling as a step out of gesture and instead of the central event of that year’s Mayday dancing in eight separate national round dances, thus its basic instance. This illegible move is the Parade, where everything worked like a charm, instead of one, common Yugoslav dance: non-place of gesture, a negativity wherefrom Makavejev recorded the shabby backstage of the gesture itself is read as such and thus workers and other performers, where their bodies TV Commentator 1: As you may see, the dance points to the work of social choreography. ceased to be textual and the socialist gesture started together. ... But something’s happening. In this way one may especially view the “bodily was falling apart precisely in this manner. Since TV Commentator 2: Right, what happened to techniques” of the performers themselves. A in 1987 that backstage became the main stage, that harmonious dance from the beginning? Why production practice often used in TV broadcasts I would ironically dub this slet and the following are they, one by one, slowly drifting apart? of the slets was to alternate between close-ups one the black wave of the Yugoslav slet. TVC1: There, Serbia’s on its own now, then and extreme long shots. The practice was not The collapse of the socialist social Croatia, Bosnia and Herzegovina... One by one, the new; Leni Riefenstahl had used in her Triumph choreography in the 1987 slet was also aided republics and the provinces are drifting apart. of the Will to show the monumentality of the by the TV commentators’ rather ambivalent TVC2: Why are we dancing in eight tableaux at Nuremberg, both in terms of individual comments, as well as aphorisms shown on different round dances? Why are we... why performing zeal and the performers’ commitment the scoreboard (invisible to the TV audience are they dancing to their own nationally to the idea. At the same time, the socialist and therefore occasionally read out by the recognisable melodies, and not together? slet’s programme treatment of its performers’ commentators). They are mostly critical TVC1: It seems we’re not united, as we should be. ... physicality proceeded along the following lines: and ironic with regards to the show itself, This dance is a warning about the current situation. as well as the larger social reality, and The sophisticated distribution of the bodies therefore sound as though they were the This whole cacophony – who’s speaking and at a stadium literally turned human beings into immediate voice of the people, whilst, in on whose behalf? – is further enhanced by the symbols and letters creating [a] spectacular mass fact, representing the state television: aphorisms sprinkling from the scoreboard, such body language. This language had its grammar, its as: “Svaki nacionalizam jednako je opasan, čak technique, how to create in Foucault terms “precisely TV Commentator 1: The countdown is on. What i naš” (Every nationalism is equally dangerous, legible and docile” bodies. First, such technique is it? The working class is counting. What are even our own) and “Ima toliko raskrsnica, a putevi concentrated on [the] individual body, breaking it they counting? They’re counting what remains nedostaju” (So many crossroads, but so few down into the smallest analytical units – movements of their wages this month and wondering: we roads). Besides speaking out on the “open secret” of body parts. By the help of rhythm these parts were could go to the seaside, but how? And if we have of growing nationalism in Yugoslav society at then recomposed according to the mathematical to, can we? ... I will go to the seaside, though the end of the 1980s, the commentators and and geometrical considerations. [...] The organizers maybe I won’t, I’m an optimist, mother... aphorisms also insist on the economic and of mass gymnastic displays created a special TV Commentator 2: Right, that’s exactly political crisis of the time. A striking example grids [sic], “tableau [sic] vivants”, and assign [sic] what the display’s saying: “I’m an optimist, of introducing this topic into a state rally is every gymnast an exact place on the intersection because it won’t do like this anymore”. the block “Glumište” (Open-air Theatre). And of abstract axes x and y. A gymnast standing on not just on account of the commentators. his mark at the stadium was no longer part of the There are two key points in this regard. One “Glumište” emerges as a chaotic Diderotesque natural community, but became an analytical unit, concerns the two commentators’ comments theatrical agglomerate, comprising a large which could be directed, controlled and analyzed accompanying the folk dance “Kakvo kolo number of characters from various social from one center. (Orsolya and Roubal 2001) naokolo” (What a Dance All Around), which opens strata, “from the beggar to the prince”, and the first block of the slet, under the ominous title costumed in line with their respective time None of this was the case in the 1987 slet. of “Bomba u grudima” (A Bomb in My Chest). The periods (“the history of Europe”). In terms of its Close-up, the bodies of the performers are no music, comprising motives from various national critical content, the most striking part of the longer analytical units or text. The performers folk-music traditions of Yugoslavia’s many block is the item titled “Stari orkestar” (The Old look “private”: they are confused, with chewing constituent nations and nationalities,12 was based Orchestra). Ballet choreographer Lidija Pilipenko’s gum in their mouths, giggling and poking into choreography was atypical for a slet and similar 12 In Serbo-Croatian, narodi i narodnosti. According to its each other; they perform the choreography constitution, the Socialist Federal Republic of Yugoslavia mass events meant to be observed from a great absentmindedly, mechanically, or each in their comprised six constituent nations (narodi) – the Serbs, Croats, distance and high above, because it was actually own way; at times, even, some of them seem Muslims, Macedonians, Slovenes, and Montenegrins, each of a theatre ensemble scene. So, while the dancers whom formed a majority (in some cases, though, only relative) in lost, because they don’t know what they’re doing; their own constituent republic (federal unit) – and a number of were performing courtly bows and various dances finally, there is no revolutionary fervour on their nationalities (narodnosti; in effect, national minorities), including, individually, in pairs and small ensembles, no faces – no convention of expression or expression most prominently, the Albanians, Hungarians, and Italians, among mass ornament could be seen on the pitch. others, scattered in some or all of Yugoslavia’s six constituent of the convention of ideology. Of course, that republics – Translator’s note. Meanwhile, the eponymous song by Đorđe 26 TkH 21 Social Choreography Ana Vujanović

the circularity of the slet’s ideological work, generally pointed out in this regard is that it is precisely because “Glumište” does not perform a fallacy to search for some immediate truth, it: not only does one need to be a member of the reality, or authenticity in what shines through ideological-linguistic community to read the a crack in a gesture or ideological framework, allegory, which is its assumed expression, but because, as Karl Popper might say, even also, at the same time, to become a member of before contesting a hypothesis, we usually that community, one must know how to read the already have another one up our sleeve. allegory correctly. From the perspective of this “civil disobedience” on the part of “Glumište”, it Thus, that illegible non-gesture, which had is interesting to note that its illegible noise, in emerged through the cracks in the 1987 slet, terms of the lack of a mass ornament, may be acquired its intelligibility barely a year later, understood as a basic instance of mass ornament which saw the last Day of Youth event, this ☐ Day of Youth slet, 1988 in Kracauer’s sense – the mass of people time without the relay race, which had been itself, their unstructured corporeality, whose discontinued in the meantime. That year, the slet Balašević addressed an old orchestra that won’t unawareness of the expression of convention at the Yugoslav People’s Army Stadium took the leave the stage, even though it keeps playing the legitimises its utterance as an authentic form of an artistic dance performance, with a same meaningless song, “tra la la la”. Balašević’s expression of the hitherto unrepresented people. single heroine. The pop-culture-oriented authors song was a reference to Yugoslavia’s then political The procedure of “Glumište” is also familiar from of the 1987 slet, the script writers Slobodan elite and one-party system, in which veteran history, as that of “the king’s fool”. And the fool’s Vujović and Žarko Čigoja and director Mihailo cadres of the League of Communists routinely cynicism relies on blackmail: I’m the fool and Vukobratović, were replaced by well-known turned a deaf ear to the problems of Yugoslavia’s therefore you won’t take me seriously (I don’t theatre makers: the 1988 slet was directed by social reality. But “Glumište” performed all of belong in the order of reality); but if you break Paolo Magelli, choreographed by Damir Zlatar that as fiction, as a theatrical play within the slet. the contract and do take me seriously (that I am Frey, and the main role was performed by Their performance was based on the procedure the voice of reality), then you’re a fool yourself. Sonja Vukićević, a ballet dancer and modern of “a play within a play”, which – being art, i.e. Therefore, “Glumište” was difficult to criticise dance choreographer. The slet was based on fiction – allows one to say the “truth” without without thereby acknowledging the fictional an adaptation of Uro boros, a professional play bearing the consequences. That protective character of the slet itself, which is precisely produced by the Novi Sad Cultural Centre and aura was further enhanced by the historical what subsequent critiques ended up doing. performed the previous year, with much success, imprecision of the time period depicted, which Still, at the end, there remains a far-reaching at the Budva Theatre City festival in Montenegro. rendered “Glumište”’s statements timeless and question, concerning which we may only The event began with an inspired speech by therefore commonsensical in their universality. speculate in the present analytical framework: actress Ivana Žigon, celebrating some of the Once again, the TV commentators sought to up was it reality that the collapse of the 1987 slet’s great figures of 20th-century theatre (from the tension, but this time by concurring with choreography opened? What was that reality? the avant-garde to Wilson) and free human what was being performed on the pitch (TV Was it an authentic expression on the part of spirit. Then, the stadium was plunged into Commentator: “And, of course, an old orchestra unrepresented citizens? Or: wherefrom was it darkness, broken only by countless torches that needs to be replaced.”) and finally by taking generated, whose voice was it that “Glumište” roaming across the pitch. This was followed up the chorus “tra la la la”, in their commentary put on the public stage? What both Hewitt and on the following aphorism: “Sve je prolazno, numerous Marxist theorists before him have ☐ Day of Youth slet, 1988 posledice su trajne” (Everything is ephemeral, only the consequences are permanent). However, when the two commentators take over the “tra la la la” chorus, it leaves the fiction of “Glumište” and becomes real. And that is exactly its effect. To get this mechanism going, “Glumište” as a play within a play makes havoc in the representational order of the slet, which, whilst projecting Yugoslavia’s society, seeks to be its expression, which takes us back to the domain of allegory and the non-gesture of stumbling. The procedure of “Glumište” is cynical, because this play within a play treats the slet itself as theatre, exposing the truth of “the emperor’s new clothes”. “Glumište” is therefore “stupid” and won’t read the allegory; it abandons its allotted slot in the assumed linguistic-ideological community – which the slet treats as both the referent and addressee in reality – and appears from someplace else, in the midst of the allegory. This way, as fiction within fiction, “Glumište” finally catches up with the reality, showing that the slet doesn’t. This procedure points to the final step required to complete The “Black Wave” in the Yugoslav Slet Social Choreography TkH 21 27 by a dramatic and dark dance performance in the genre of a stadium-sized choreo-drama about destruction and regeneration, life and death. With her ascetic, dance-athletic body, wearing a white dress, unshod, and with her long, unbound loosely swinging hair, Sonja Vukićević, with much expression, performed the figure of a torn individual, struggling against various obstacles and herself, but still not succumbing in the end. Even though the pitch was crowded with performers,13 she completely dominated the scene, which turned the 1988 slet into a dance solo, of gigantic proportions. The entire choreography and the entire set, with especially effective focused lighting, were mobilised to single out, for the first time in the history of slets, a single body from the anonymous dancing mass. Throughout the event, that body kept running relentlessly, up and down the pitch, drenched in rain, crossing a sea, to emerge at the end, literally battered and exhausted but still standing, on an elevated platform in the middle of the stadium, surrounded by people in semi-darkness, organising themselves in concentric circles around her. ☐ Day of Youth slet, 1988 each time they create mass gymnastics, the The play’s historical context was less than creative workers try to make and use artistic hand precise; the symbolic order of the slet renounced transfer of sports into culture, which was, props and equipment, instead of gymnastic hand contemporaneity and its aesthetic primarily according to O’Mahony, a sort of legitimisation props and equipment. In consequence, gymnastic evoked a medieval kind of atmosphere, with the of mass, working-class culture, as opposed to performances lack vigour and driving force and are performers costumed to look like serfs from bourgeois, elitist culture and its glorification beginning to resemble art performances. From now feudal times. Those 9,000 other performers of the arts. The socialist slet – from the on, gymnastic hand props and equipment must were thus given the (quasi-)tautological role of Spartakiades, via mass gymnastics, to the Day be designed and used for gymnastic formations. the people qua people, while only one virtuosic of Youth slets – thus emerged as an ideological [...] To all intents and purposes, backdrops and individual was singled out from their midst, spectacle with a strong insistence on the music are needed to add relief to the performances exceptional and exempt. It was a syntactic aesthetic, but aesthetic in its basic sense and of the gymnasts. Subordinating music to the and symbolic collapse of the slet ideology therefore not necessarily artistic. Indeed, one movements of the players will avoid the tendency of “All together now!”. Thus, if the 1987 slet had to be rather careful and deft in balancing of mass gymnastic performances becoming like a might illustrate Renata Salecl’s claim that in the artistic, to enhance the ideological affect dance or an art performance. [...] If too much of it socialist Yugoslavia no one eventually believed and effect, but without straying into bourgeois is used as gymnastic music, the mass gymnastic in socialism anymore, but everyone believed elitism, l’art pour l’art, or decadence. In 1987, performance may become an art performance. that everyone else still believed (Salecl 2010, with its theatrical block, “Glumište” opened This is not good. [...] The major shortcoming of min. 8.05-9.50), the 1988 event shows that a a crack in this aesthetic order, which in 1988 this work [Prosperous Juche Korea] is that it year later no one shared that belief either, not gave birth to an artistic dance-theatrical play resembles a dance and an art work. (Kim 1987) even the state itself. Still, one should not view in lieu of a slet. From the politico-ideological that collapse as that of ideology in general and perspective of the collapse of socialism and Back to the individualistic matrix of the last a transition into a post-ideological and post- revitalisation of capitalism in Yugoslavia, or the Yugoslav slet. That the individualism of the 1988 historical era. On the contrary, stripped of the collapse of its proletarian and revitalisation slet was an ideological category every bit as kind of ideological propaganda that we witnessed of its bourgeois society, it is symptomatic to much as collectivism had been is an important in the preceding years, the 1988 slet merely compare this turn with an ostensibly advisory thesis regarding the social choreography used more subtle artistic devices to promote but really obligatory lecture given by Kim Jong-il of contemporary dance, based as it is on individualism as the new ideological matrix. in 1987 to the organisers of mass gymnastics emancipating the individual body (even though on the eve of Prosperous Juche Korea, a this emancipation is considered inherently Before discussing that individualism, I will mass rally to mark the Day of the Sun, Kim anti-ideological). In addition, this thesis, more briefly address the aspect of the artistic. As I Il-sung’s birthday. Here are some excerpts: specifically and contrary to the common view, mentioned at the outset, in post-revolutionary links it with capitalist rather than democratic USSR the concept of fiskulturafacilitated the Our mass gymnastics are a mixed form of society. I have already written about this, so comprehensive physical exercises, which combine here I will reiterate some of the argumentation: 13 According to Vukićević, apart from her partners onstage, high ideological content, artistic qualities and she was accompanied by another 9,000 youths. She told me that gymnastic skills. [...] The revolutionary content of Accordingly, [the] “emancipation of the individual” when I interviewed her for Tigrov skok u prošlost (A Tiger’s Leap the theme of a mass gymnastic piece enhances its (attributed to democratic societies) is not reverse into the Past), an exploration and video archive of Serbia’s dance scene, co-authored with Saša Asentić, Belgrade, 2007 http:// ideological and artistic qualities and its educational to ideology (imputed to non-democratic regimes), vimeo.com/16371324 (20 October 2013). significance. [...] When told to adopt new forms but its guiding principle. And its reverse on the 28 TkH 21 Social Choreography Ana Vujanović other ideological side is “collectivism”. The former curriculum starting in primary school, every concept is specific to capitalist societies and basically year for 30 years, the slets publicly performed, derives from the economic principle of private rehearsed, and trained young bodies to take ownership, as its ideological foundation. The latter up the identity of future socialist Yugoslavs. was adopted from the socialist-communist ideological However, the 1987 slet revealed that identity as vocabulary, and refers to its milestone concept of flimsy, porous, socially not grounded (anymore), public ownership. […] Therefore, what we encounter only to be replaced, already in 1988, by an in capitalist societies is a history of contemporary entirely different model: that of a prominent dance as a high art practice of [the] emancipation individual surrounded by the masses. The of the individual – rendering a singular autonomous question is what happened to that social body subject through [the] liberation of the individual that had spent 30 years training for an entirely body, expressiveness, creativity, and authorship. On different picture of the world: how did it change the other hand, in socialist countries such practice shape so quickly, or was it ever shaped at all? was perceived as a bourgeois luxury – what was The only certainty is that the breakdown of required was a socially and economically efficient its aesthetic continuum was performed in a collective – being replaced by dance as an “all spectacular way in the 1987 and 1988 self- together now!” activity, and [the] nearly anonymous performances of the state, when a new identity, cultural practices of rallies, parades, amateur with all the ambiguity of a symbiosis between an or folk dances etc. […] Metaphorically speaking, individual and the colourless masses, acquired its a-professional-Western-contemporary-dancer is social grounding – in the emergence of national an ideal image of an independent, well-educated leaders in each of the six republics and the and accomplished self-entrepreneur, while an- growth of nationalism as anchors of identification Eastern-mass-of-(semi-)-amateur-performers is a for those citizens who assembled around them; projection of a Workers’ Council wherein each voice this new identity would mark the social reality claims equal importance and value in a workforce of Yugoslavia in the ensuing period. ■ structure that belongs to all of them (in fact, to the whole society). (Vujanović 2008, 39–40) Works Cited: Cvejić, Bojana and vujanović, Ana. Public Sphere by Performance, Berlin: b_books, 2012 However, if we understand the choreography Grigorov, Dimitar. “‘Računajte na nas’: ‘Odlomak’ o Titovoj of the 1988 slet as an allegory of the ideology štafeti ili Štafeti mladosti”. Godišnjak za društvenu istoriju 1–3, of individualism, then, as before, we must move 2008, pp. 105–137 jakovljević, Branislav. “Ručni radovi – estetsko nasleđe ’68.”. to its more specific social level. My key claim, Teatron 142, 2008, pp. 26–40 with which I conclude this analysis, is that the Kim, Jong-il. “On Further Developing Mass Gymnastics”, 1987, allegory here is ambiguous, because it demands http://www.korea-dpr.com/lib/Kim%20Jong%20Il%20-%205/ to be read at once in two seemingly contradictory ON%20FURTHER%20DEVELOPING%20MASS%20GYMNASTICS. pdf (15 October 2013) ways. According to one of them, following the Kracauer, Siegfried. Mass Ornament, Cambridge, MA: Harvard collapse of socialist collectivism and its notorious University Press, 1995 particularism, the allegory celebrates the very Manojlović Pintar, Olga. “‘Tito je stena’: (Dis)kontinuitet vladarskih predstavljanja u Jugoslaviji i Srbiji 20. veka”. Godišnjak notion of a free and independent individual za društvenu istoriju 2–3, 2004, pp. 85–101 (which, presumably, anyone could be, in his O’Mahony, Mike. Sport in the USSR: Physical Culture – Visual or her specificities, thus as a singularity of a Culture, London: Reaktion Books, 2006 Orsolya, Danó and Roubal, Petr (eds.). Bodies in plurality) whereas according to the other, it Formation: Mass Gymnastics under Communism, Budapest: Open rehearses a new collectivism based again on Society Archives at Central European University, 2001, http:// particularist self-sacrifice and ultimate support osaarchivum.org/galeria/spartakiad/online/index2.html (15 October 2013) to a prominent individual (but who is that vujanović, Ana. “Ne sasvim zapadna, ne baš istočna plesna individual?). This politics of the body belongs scena (o savremenoj plesnoj sceni u Srbiji)” / “Not Quite-Not in a new social and ideological chapter in the Right Eastern Western Dance (On Contemporary Dance Scene history of Yugoslavia, but first, it retroactively in Serbia)”, in Bojan Đorđev (ed.), Raster #1: Godišnjak nezavisne izvođačke scene u Srbiji / Year book of the independent enquires about the social (dys)functionality of performing arts scene in Serbia, Belgrade: TkH, 2008, pp. ??–?? the Day of Youth slet. Namely, the social function of the slet was to constitute, by performing and rehearsing socialist collectivism, the identity of the new social subject, able to preserve the legacy of the revolution and continue down the revolutionary path toward communism. That kind of performativity of identity, Judith Butler has written, certainly requires more than one performance: it requires long-term repetitiveness. And that is precisely what slets did, along with many other similar events and rituals in Yugoslavia’s ceremonialised society. In addition to adding physical culture to the The Collective Bodies of Protest Social Choreography TkH 21 29 The Collective Bodies of Protest: Social Choreographies and the Materiality of Social Figurations

Gabriele KLEIn ● ● have developed at the turn of the century, European cities in the 19th century and that Abstract ● The text focuses on a globally seeking to negotiate questions of common transfers everyday situations and cultural and politically volatile topic: the emergence of existence beyond institutionalised politics traditions into public space and politicises them collective bodies and social choreographies in and the officially legitimate political stage. (Kaschuba 1991): carnival-like processions, urban performance art and protest movements, In contrast to the Arab world, in the West, street theatre, performances and (tractor) involving, on the one hand, an interdisciplinary which is the focus of this text, protest has parades, occupying houses, street junctions, interweaving of the social sciences, and, on the in many instances taken an aesthetic form. building sites, and railway tracks. Flash mobs, other, the philosophy of art and human movement With their interventions in public space, these chaining oneself to or abseiling from bridges, studies. The objective is to examine the aesthetic new protest cultures in the Western world boldly hanging posters in dangerous places, practices and social figurations of aesthetic and have sought their role models in art history, camping in tent cities, and stripping and freezing political interventions in public space, using the who championed a broader definition of art. not only make for spectacular images, but theoretical concept of social choreography. On the one hand, they have turned to various have also ensured, like the Occupy movement artistic movements from the 1920s, such together with social media, new performative The Aestheticisation of the as Dadaism, futurism, the theatre art of the formations and figurations of protest cultures. Political ● In recent years, a new culture Bauhaus, surrealism, and the Situationist In these protest cultures, the word “movement” of political participation has emerged, both International of the 1960s, as well as the should not be seen only metaphorically, but in Arab countries and the Western world, “Sponti” movements, triggered by Kommune also, thanks to its corporeal, scenic, and above all in large urban centres. Enabled by I, the Autonomism movement in Italy, and choreographic actions, literally, which has social media (the Internet, Facebook, Twitter, the Spaßguerilla actions of the 1980s. On the yet to be adequately addressed in theories of e-mail, text messaging), new practices and other hand, they have sought to build on the social movement. The perspective of social figurations of a protest culture in public space street culture that had established itself in choreography, so the argument goes, expands the 30 TkH 21 Social Choreography Gabriele Klein sociological approach to the body, which treats (cities, communities, schools, authorities, experience. This is what I mean by the aesthetic “the body” primarily in singular, by including churches, educational and cultural institutions, continuum of social choreography. (Hewitt 2005, 19) the interactivity of bodies, which materialises associations). Reclaim the Streets, protest in stage practices and choreographic forms. movements to reclaim public space; the Israeli Hewitt thus defines social choreography in performance collective Public Movement; terms of connections between the aesthetic and The Politicisation of the Pink and Silver; and Volxtheaterkarawane, an the social, which other authors have noted as Aesthetic ● At the same time, numerous Austrian art project against racism, are only well (e.g. Martin 1997). However, the question performance art projects have developed in a few of a large number of many projects that remains as to how to define and examine public space. They see themselves as searching test figurations of social practice in an interplay the choreographic as a specific form of the for new perspectives of the political or as with artistic and participatory types of action. aesthetic and the social. Thus a choreographic experimental fields of the social. Their historical There is consensus in performance and viewpoint would not generally concentrate origins are well-known and have been thoroughly dance studies that participatory art projects on “the aesthetic”, but on the materiality of discussed: examples include the Happening in urban space provide alternative views and the time-space relationship of bodies, their (Kaprow), Nouveau Réalisme (Tinguely), Fluxus perspectives on urban life and, in their work rhythms, dynamics, figurations, and formations. (Paik, Beuys), Viennese Actionism (Brus, Mühl, methods, devise tools to test various modes of At the same time, another issue that remains Nitsch), and the early performance artists public participation. In the process, they have unclear in Hewitt’s approach concerns the (Horn, Naumann, Export, Ono, Abramović); abandoned the customary space of the theatre central sociological question regarding the since the 1960s and ’70s, the performing and moved into public space or other urban places relationship between macro- and micro- arts (visual arts, music, theatre, dance) in (e.g. schools, hospitals, homeless shelters). structures of the social, i.e. between social particular have been increasingly concerned Alternatively, they have declared the theatre order and social situation, structure and action. with urban public life, simultaneously and in itself a place of social participation, reinterpreting Especially here, in merging micro- and macro- reaction to the transformation of the cities. it as a space for social experimentation and perspectives, I believe the choreographic Since the 1990s, contemporary European thus challenging its traditional frameworks. perspective offers further benefits, especially performance art and choreography, in particular, Urban performance art and choreography are if we understand choreography in the have developed aesthetic concepts to address proving to be suitable fields for experiencing contemporary sense, not as a prescribed, fixed cultural and political life in public space and through and in bodily practices whether and order of movement, but rather as a performative experiment with participation in public life how communication in public space may occur category, an order that is generated in practice, (e.g. Blast Theory, Forced Entertainment, Gob between people from different cultures and in the sense of “real-time composition” Squad, Lab of Insurrectional Imagination, milieus, with different lifestyles and attitudes. simultaneous with performance (see below). La Pocha Nostra, Ligna, SheShePop, Turbo These artistic projects are recreating From this background, I have sought to re- Pascal, Rimini Protokoll, Femen, Pussy Riot, the political task and public relevance of formulate the concept of social choreography Toyshop Collective, Space Hijackers). performance art by penetrating public space and from a sociological and dance-studies But their artistic productions operate in a addressing everyday politics as incorporated perspective. In my perspective, the term different social context, which performance power politics. They are driven by issues in combines the concept of choreography from research, in line with Hardt and Negri (Hardt & theatre theory, such as the following: What are contemporary dance, which basically denotes Negri 2000), interpret as post-Fordist (Virno the places of theatre? What is the structure organising bodies in space and time (sometimes 2003). With the post-Fordist and neoliberal of the relationship between the actor and fixed in notation), with the sociological concept of labour, artistic work itself has the public? How can the theatricality of the concept of social figuration (Norbert Elias). acquired a different social meaning: creativity, everyday be reflected aesthetically? How are Elias introduced the concept to solve the originality, improvisation, spontaneity, innovative relationships among bodies organised? basic theoretical problem of sociology: how to enthusiasm, the combination of work and think micro- and macro-structures together. life – what used to be a genuine feature of Social Choreography ● The term In Elias’s understanding, a figuration is an the artistic avant-garde has now become a “social choreography” was used prominently “interdependence network” of agents immanent required characteristic of labour in post-Fordist for the first time in literary studies, by Andrew to a social order. Therefore, they do not precede conditions of production and neoliberal political Hewitt (Hewitt 2005). Hewitt studied the writings their figuration, but are created by their concepts. In this, artists are seen as pioneers of authors from the mid 19th to the early 20th interdependent actions. The concept of figuration (Boltanski & Chiapello 2005). Creativity has century from a literary perspective, focusing on can thus be interpreted from Elias’s performative- advanced to become the guiding mechanism their use of “choreography” as a metaphor for the theoretical perspective. In addition, the term is of contemporary societies (Reckwitz 2012). modern. In his introduction, Hewitt formulates his also helpful with regards to the concept of social Also, the transformation of labour (Klein & thesis on the connection between choreography choreography, as it addresses the interaction of Kunst 2012) has brought about a change in the and the social, by asserting that the aesthetic bodies and takes this as a basis for the social. social importance of art: whereas art in the is inherent in the social itself, the social order This distinguishes figurational sociology, not only modern period derived its social legitimacy (Hewitt 2005, 12). Accordingly, he concludes within sociology in general, from action-theory from its autonomy and critical distance, the role that a choreographic perspective on everyday concepts that focus on individuals’ actions, as of the artist has changed so much that art is practices should above all follow two paths: well as from structural-theory concepts that increasingly defined by its function within the suggest pre-existing orders. It also opens the social fields of education, culture, and science. one tracing the ways in which everyday prospect for a concept of choreography not as Choreographic and performance projects experience might be aestheticized (dance an organised compilation of individual actions, are also involved in this new, highly charged aestheticizes the most fundamental and defining founded in a specific modern theory of the subject artistic conflict between the critical avant- motor attributes of the human animal); and another qua “homo clausus” (Elias). Rather, the concept garde, innovative artistic participatory tracing the ways in which “the aesthetic” is, in fact, of figuration describes the interdependence projects, and contract work for different clients sectioned off and delineated as a distinct realm of of bodies and their movements themselves The Collective Bodies of Protest Social Choreography TkH 21 31 as the fundamental basis for the actions of especially in its everyday bodily practices, its inasmuch as the creative practices of protest individuals and thus for the social as well. micro-politics. Here the perspective of interacting movements may be interpreted not only as Therefore, the concept of social choreography bodies is of paramount interest. From the resisting the ruling norms, but also as part develops a choreographic perspective on social perspective of social choreography, the body is of the post-Fordist regime of creativity. figurations: it focuses on the practices of bodily not only a medium of protest in the sense that interactions and the materiality of figurations. it serves as a bearer of signs and symbols or is Aestheticisation in Protest From this perspective, social choreography endangered in risky actions. The “dis-placement” Cultures ● Against this background, the refers to the specifically spatial and time-based and “de-positioning” of bodies lying in the street, argument presented here is that these new figurations of organising bodies, materialities, chained up, and dragged away, demonstrates the figurations of a democratic public, especially in a and objects, relating to each other in an vulnerability of the private and intimate body. neoliberal Western world, should not be seen only interactive and inter-corporal manner (e.g. in This in itself is a protest against public space as a as “anti-movements”, lacking in perspective, as is traffic, at demonstrations, on dance floors). panoptical space of power (Foucault). In addition, often claimed in public debate. Instead, we should First, social choreography treats social the protest only comes about in the first place be asking whether another form of the political, spaces as choreographed environments, such by means of a choreographic organisation of the an “art of freedom” (Rebentisch 2012), may as urban public space as a panoptical space, body, in other words, in the materiality of a social appear in the process of aestheticisation itself. with its macro-structures objectified by means figuration. Not a single but only a collective body In contrast to critiques of aestheticisation that of urban planning, transport infrastructure, and may be politically effective in occupying public began in the 1960s, for example, Austrian writer architecture, which regulate the movement and space and undermining its order. Furthermore, Peter Handke’s defamation of street theatre as behaviour of people and thus also the pattern of these actions are often creative and theatrical, an apolitical “TheaterTheater” (Handke 1968) social perception and experience. Second, social conceived with much humour and irony; by means and various theorists’ critiques of the subculture choreography addresses social figurations from of these theatrical practices and their ephemeral of the process of aestheticisation (Marcuse the perspective of their orders of movement, in figurations, they themselves blur the difference 1969), who then circulated the catchphrase other words, of their inherent bodily interactions. between the aesthetic and the political. “anaesthetisation”, this text argues that precisely The concept of social choreography focuses The movement order of protest cultures’ social aestheticisation itself may be understood as a on combining the social and the aesthetic. choreographies is not fixed, but may instead search for new perspectives of the political, for Its central and fundamental claim is this: the be phrased in the language of contemporary new guidelines in democratic politics, local and choreographic order of the social contains a choreography and understood as a regulated and global alike, and new forms of common existence political dimension, which is manifested in structured improvisation of an everyday practice. in multicultural cities and urban spaces. the order in which bodies move. Therefore, As choreographies that produce ephemeral The new protest cultures can be understood the relationship between the political, the order, protest movements demonstrate a as an expression of the theatricality of public social, and the aesthetic is highly relevant. contemporary understanding of choreography, urban space, where protest has always Therefore, the concept of social choreography not as a fixed, repeatable order governed occurred as an integral element of public addresses the relationship between macro- by rules, to which one must adapt, but as a staging. Whether a revolt, uprising, ordered and micro-structures, order and movement, common process, an emerging and contingent demonstration, street battle, celebration, whereby order, on the one hand, may materialise order, created from scratch by its participants. festival, or a ceremony – public gatherings objectively (in traffic infrastructure, buildings, Choreographer William Forsythe thus writes: must be staged in order to be visible. Therefore, etc.), while on the other hand, it may be part theatricality is not something added from of figurations highlighted by the intertwining Choreography is not necessarily bound to dance, without, but rather a genuine part of protest. of the participants’ movements. The immanent nor is dance bound to choreography. Choreography is Aestheticisation means a fundamental change relationship between order and movement in about organizing bodies in space, or organizing bodies not only of the ethical, but also the political social figurations proves to be ambivalent: on with other bodies, or a body with other bodies in an and the social. “Aestheticisation” is a keyword the one hand, it leads to a conventionalisation environment that is organized. (Forsythe 2010, 105) that pervaded the field of cultural criticism and standardisation of social norms and rules; throughout the 20th century: from Walter on the other hand, it provides a potential for This contemporary definition of Benjamin’s diagnosis of an “aestheticisation of disruption and intervention. The manner in choreography forms the background of the political life” (Benjamin 2008) to Guy Debord’s which this ambivalence is revealed is the central concept of social choreography. From the Society of the Spectacle (Debord 1994), and the object of my research in social choreographies. perspective of contemporary choreography, various positions of modern and postmodern Social choreographies touch upon the a choreographed protest may be seen as criticism (Habermas 1990, Eagleton 1990, Bubner question of the parallels and figurations of a real-time composition, i.e. a regulated 1989, Boltanski & Chiapello 2005, Ferry 1993). 1) the corporeal, 2) the theatrical, and 3) improvisation, occurring as a choreographed The focus of these various lines of criticisms the choreographic figurations of political order at the moment of its performance was the relationship between the aesthetic protest and aesthetic participation. The (flash mobs would be a paradigmatic example and the non-aesthetic, whereby the aesthetic, question is whether and how the new here, with actors, upon an arranged signal, relating to aestheticisation, was understood protest cultures, by means of their aesthetic simultaneously following a score). Due to the as something entering from the outside and practices rather than concrete demands, unpredictability of real-time political-protest driving different areas, such as politics, religion, disturb, undermine, and possibly change the choreographies, the situational decisions that ethics, and reason, into crisis, questioning choreographed order of public space and also the actors must make and their ability to act and subverting their normative foundations. announce and engender other, alternative creatively in a politically volatile situation In recent years, however, various positions modes of social and political experience. and under “time pressure”, as well as tracking have developed in the fields of philosophy The perspective of social choreography the movements of others and interacting (Boehm 1995, Welsch 1993), religion and history follows a critical social theory of modernity, with them, grow fundamentally important. (White 1973, Kippenberg 1982–90, Lanwerd which informs the cultural pattern of a society, Here we see an aesthetic ambivalence, 2003), literature and art history (Bredekamp 32 TkH 21 Social Choreography Gabriele Klein

2007, Vogl 1999, Iser 2003, Rebentisch 2012, democracy as a form that “comes into its own” Fordist forms of production. On the other hand, Brombach et al. 2010), which refuse to follow this (Derrida), which must constantly be reinvented these aesthetic forms also affect and change the discursive pattern of the aestheticisation debate and ultimately cannot be realised in any specific moments, places, and rhythms and dynamics and advocate an opposing standpoint. They form of realisation (Nancy 2000, Rancière 2011). of the “collective bodies of protest”. ■ view the aesthetic as constitutive for political, My first thesis is that a new quality can be religious, social, and epistemological practices. seen in these new figurations of public protest, Works Cited: Aestheticisation thus denotes not a process of in the interaction between the political and the Benjamin, Walter. “The Work of Art in the Age of Its Technological Reproducibility”, in Michael W. Jennings, Brigid disruption, but is seen instead as an immanent aesthetic, in the simultaneous aestheticisation Doherty, and Thomas Y. Levin (eds.), The Work of Art in the Age element that contributes to the success of of the political and politicisation of the of Its Technological Reproducibility, and Other Writings on Media, these practices. At the same time, the aesthetic aesthetic: while political protest is becoming Cambridge, MA: Belknap Press of Harvard University Press, 2008, pp. 19–55 is recognised as a key term for testing modern increasingly aesthetical, art in public space Boehm, Gottfried. “Die Wiederkehr der Bilder”, in Gottfried concepts of knowledge, of the political and the is becoming more political. Therefore, the Boehm (ed.), Was ist ein Bild?, Munich: Wilhelm Fink Verlag, 1995, religious. This is precisely because a lack of the aestheticisation of protest movements pp. 11–38 aesthetic is seen as an aspect of the crisis. should not be blamed for their alleged lack Boltanski, Luc and Eve Chiapello. The New Spirit of Capitalism, London – New York: Verso, 2005 In the perspective of its critics, of perspective, but should be seen, as I Bredekamp, Horst. Galilei als Künstler: Die Zeichnung, der aestheticisation leads to the domination of argued earlier, as an internal search for new Mond, die Sonne, Berlin: Akademie-Verlag, 2007 appearance, whereby every event becomes perspectives of the political, for new guidelines Brombach, Ilka et al. (eds.). Ästhetisierung: Der Streit um das Ästhetische in Religion, Politik und Erkenntnis, Zurich: Diaphanes, a spectacular staging, contents become for democratic politics, local and global alike, 2010 images, action becomes performance, and for new forms of coexistence, especially in Bubner, Rüdiger. “Ästhetisierung der Lebenswelt”, in Walter self-perception becomes a pose, protest multicultural cities and urban environments. Haug and Rainer Warning (eds.), Poetik und Hermeneutik 14: Das Fest, 1989, pp. 651–662 becomes a spectacle, and social connections My second thesis is that the aesthetic is not a Debord, Guy. The Society of the Spectacle, New York: Zone become aesthetic relations. Thus in the transformation that distorts the political, but Books, 1994 critical outlook of sociology and philosophy, rather a necessary part of democratic politics. Eagleton, Terry. “From the Polis to Postmodernism”, in The Ideology of the Aesthetic, Oxford: Blackwell, 1990 the ‘danger’ of the aesthetic lies in its non- My third thesis claims that the aestheticisation Ferry, Luc. Homo aestheticus: The Invention of Taste in the integrative impact on the community. of protest movements also changes the Democratic Age, Chicago: The University of Chicago Press, 1993 In contrast to these positions, the relationship between form and content: the Fischer-Lichte, Erika. The Transformative Power of concept of social choreography rests on the objectives are diffuse and perhaps must remain Performance: A New Aesthetics, New York: Routledge, 2008 Forsythe, William. “City of Abstracts (2000) and The assumption that the aesthetic is an immanent diffuse, on the one hand, because they are a Fact of Matter (2009)”, in Stephanie Rosenthal (ed.), Move: moment of the social and the political. As reaction to post-democratic politics, which Choreographing You, London: Hayward Gallery Pub., 2010, p. 105 such, it is ambivalent: it can contribute to tends to act as an administrative practice habermas, Jürgen. “Excursus on Leveling the Genre Distinction between Philosophy and Literature”, in The destruction, as well as to a renewal. legitimised by economic necessity, no longer Philosophical Discourse of Modernity: Twelve Lectures, Cambridge, Against this background of combining the ascribing any responsibility to the government. MA: MIT Press, 1990, pp. 185–210 aesthetic and the political, the aesthetic On the other hand, the actions concentrate on handke, Peter. “Straßentheater und TheaterTheater”. Theater heute 7, 1968, pp. 6–7 should not be described only as a form of aesthetic practices, i.e. on playing with signs, hardt, Michael and Antonio Negri. Empire, Cambridge, MA: perception, nor can it exist at all outside meanings, distortions, alienation, citations, Harvard University Press, 2000 of the political. Rather, this perspective is in other words, with the techniques and hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement, Durham, NC: Duke University driven by the assumption that the aesthetic is procedures that characterise “(post)dramatic Press, 2005 embedded in political and social practices and theatre” (Lehmann 2006) and an “aesthetic Iser, Wolfgang. “Von der Gegenwärtigkeit des Ästhetischen”, social figurations – precisely because these of the performative” (Fischer-Lichte 2008). in Joachim Küpper and Christoph Menke (eds.), Dimensionen practices and figurations, with their norms, This wide scope of topics and objectives ästhetischer Erfahrung, Frankfurt: Suhrkamp, 2003, pp. 177–202 Kaschuba, Wolfgang. “Von der ‘Rotte zum Block’: Zur rules, and customs, already control perception also changes, thus my fourth thesis, the social kulturellen Ikonographie der Demosntration im 19. Jahrhundert”, by spacing people socially, allocating them figurations of protest: the “interdependence in Bernd Jürgen Warneken (ed.), Massenmedium Straβe: Zur social and political manoeuvring space, and networks” that materialise as specific space-time Kulturgeschichte der Demosntration, Frankfurt: Campus Verlag, 1991, pp. 68–96 thus regulating social perception. Also, this structures and are analysed with regard to their Kippenberg, Hans G. et al. (eds.). Visible Religion: Annual for is precisely where the political dimensions of corporeal, stage, and choreographic practices. At Religious Iconography 1–7, 1982–1990 the corporeal (aesthetic) lie: in “kinesthetic the end of the 19th century, workers and labour Klein, Gabriele and Kunst, Bojana (eds.). Performance Research 17/6: On Labour & Performance (2012) politics” (Lepecki 2006). It is a political term unions organised their demonstrations in rows Klein, Gabriele. “Choreografien des Alltags: Die emergenten that combines the physical and the political, or blocks. They took this choreographic form Ordnungen der Lebenswelt”, in Claudia Behrens et al. (eds.), defining political activity as the sensual practice because they wished to position themselves on Jahrbuch Tanzforschung 22: Tanzerfahrung Welterkenntnis, 2012, pp. 17–34 of shifting and making visible cultural and social different sides: on the one hand they wanted to Klein, Gabriele. “Choreographien des Sozialen”. Ästhetik und codes – in defiance of what Jacques Rancière show the bourgeoisie their ability to make their Kommunikation 40/146, 2009, pp. 25–30 calls the “police order” (Rancière 2010). political demands publicly in an ordered and Klein, Gabriele. “Choreo-Politik: Kulturelle und künstlerische Performances im öffentlichen Raum”. Sociologica Internationalis: controlled manner. On the other hand, movements Europäische Zeitschrift für Kulturforschung 40/1/2, 2012, pp. The Politics of in Germany wanted to demonstrate to the 35–48 Aestheticisation ● In the perspective Prussian state their acceptance of its militaristic Klein, Gabriele. “The (Micro-)Politics of Social Choreography: of the aesthetic, the question is not only how choreographic pattern and thus visibly demarcate Aesthetic and Political Strategies of Protest and Participation”, in Gerald Siegmund and Stefan Hölscher (eds.), Dance, Politics and to evaluate the participative understanding themselves from the radical Left, which had been Co-Immunity, Berlin: Diaphanes, 2013, pp. 193–208 of democracy under the political and social disparaged as a militant mob. Nowadays, protests Klein, Gabriele. “Zeitgenössische Choreographie”, in Gabriele conditions of each society and its political appear in increasingly fleeting, disordered, Klein (ed.), Choreografischer Baukasten, Textband, Bielefeld: Transcript, 2011, pp. 14–78 system. The new protest cultures in democratic spontaneous, and unannounced figurations. On Lanwerd, Susanne (ed.). Der Kanon und die Sinne: societies also demonstrate that aesthetic the one hand, this is an expression of a “fluid Religionsästhetik als akademische Disziplin, Luxembourg: ambiguity and performing openness see modernity” (Bauman) and an analogy to post- EurAssoc., 2003 The Collective Bodies of Protest Social Choreography TkH 21 33

Lehmann, Hans-Thies. Postdramatic Theatre, London – New York: Routledge, 2006 Lepecki, André. Exhausting Dance: Performance and the Politics of Movement, New York – London: Routledge, 2006 Marcuse, Herbert. An Essay on Liberation, Boston: Beacon Press, 1969 Martin, Randy. Critical Moves: Dance Studies in Theory and Politics, Durham, NC: Duke University Press, 1998 nancy, Jean-Luc. Being Singular Plural, Stanford: Stanford University Press, 2000 Rancière, Jacques. “Democracies against Democracy”, in Giorgio Agamben et al. (eds.), Democracy in What State?, New York: Columbia University Press, 2011, pp. 76–81 Rancière, Jacques. Dissensus: On Politics and Aesthetics, London – New York: Continuum, 2010 Rebentisch, Juliane. Die Kunst der Freiheit: Zur Dialektik demokratischer Existenz, Berlin: Suhrkamp, 2012 Reckwitz, Andreas. Die Erfindung der Kreativität: Zum Prozess gesellschaftlicher Ästhetisierung, Berlin: Suhrkamp, 2012 virno, Paolo. A Grammar of the Multitude: For an Analysis of Contemporary Forms of Life, Cambridge, MA – London, UK: Semiotext(e), 2003 vogl, Joseph. “Einleitung”, in Joseph Vogl (ed.), Poetologien des Wissens um 1800, Munich: Wilhelm Fink Verlag, 1999, pp. 7–16 Welsch, Wolfgang. “Das Ästhetische – eine Schlüsselkategorie unserer Zeit?”, in Wolfgang Welsch (ed.), Die Aktualität des Ästhetischen, Munich: Wilhelm Fink Verlag, 1993, pp. 13–47 Welsch, Wolfgang. Ästhetisches Denken, Stuttgart: Reclam, 1990 White, Hayden. Metahistory: The Historical Imagination in Nineteenth-Century Europe, Baltimore, MD: Johns Hopkins University Press, 1973 34 TkH 21 Social Choreography Bojana Cvejić Dance War

Bojana Cvejić ● ● In 1954, when US president Dwight D. Eisenhower spelled out his “domino” theory that the exit of France from Indochina and the communist insurgency in Vietnam would cause the entire region to “fall” to communism, the American National Theater Academy (ANTA) sent the Martha Graham Dance Company on a tour of Southeast Asia. The ANTA was assigned to recruit dance in a diplomatic mission by the State Department. The initiative was in concert with the Emergency Fund for International Affairs that Eisenhower set up that same year, in order to get Congress to assign more funds for the arts, including dance, for the purpose of “counteracting the impression of life in America as shown in the motion pictures”, or, as a Jakarta-based newspaper eloquently put it in 1955, to dispel “the prevalent notion that Americans live in a cultural wasteland peopled into the human heart” (Japanese and Malaysian ☐ Yvonne Rainer’s WAR, photograph by Lennart Laberenz only with gadgets and frankfurters and atom critics, quoted in Prevots 1998, 48–49). bombs” (Prevots 1998, 50). And Martha Graham’s best manifested in the kinetic flow, or, as André mission was indeed successful: even communist- “Dance-war”, an Oxymoron… Lepecki calls it, in “being-toward-movement”. oriented and anti-American media and officials not “War-dance” ● This story about a Several founding notions of modern dance in India, Burma, Thailand, Indonesia, Japan, etc. deployment of American modern dance as an can link its genealogy with the expansion of praised her dance for its cultural-diplomacy instrument of ideological propaganda, ostensibly liberal democracy and free-enterprise market efforts with much enthusiasm. “Artistes like for peace-making purposes, but in fact merely as capitalism: individual mobility as a propensity Miss Graham can very effectively contribute another form of the struggle for hegemony and for movement/change/flow/flight as well as a towards international goodwill and therefore influence in a world divided by the Cold War, is condition for autonomy; the emotional nature they are a potent force for peace”, Burma’s Prime the starting point of my enquiry. What terms and of movement, expressing the inner life of an Minister U Nu stated. The Hindustani Standard relations does the conjunction of dance and war, individual; dance as an abstracting machine likewise commented that “in introducing us as it were, throughout the 20th century invoke? that reduces form to essence and signification to this other face of her great country, Miss And, in order to specify the field and motivation to metaphors; the obsession with the real in Graham is visibly raising Indo-U.S. relations to of such an enquiry, can we ask: which dance, the physicality of the body-movement bind a higher level” (Prevots 1998, 50–51). Key to which war? In what sense should one consider and in a fleeting moment of the present. The winning the “battle for the hearts and minds” those terms and how might they reciprocally philosophical underpinnings of these notions of America’s ideological adversaries in this Cold determine each other? The story of Graham’s tour are incontrovertibly vitalist, for they celebrate War affair wasn’t the patriotic narrative of an of Southeast Asia is the apogee of the Western, the intense experience of one’s own subjectivity epic dance spectacle (as in some other pieces Euro-American tradition of theatre dance, in in a living image, or, in the celebratory title of by Graham, such as American Document or which “dance-war” seems, at first sight, like an a recent exhibition on dance, danser sa vie.1 Appalachian Spring), but those characteristics oxymoron, where two terms denote contradictory Vitalism here comprises both 19th-century of American modern dance that epitomised notions joined in opposition. Since its “birth”, metaphysics, as in Henri Bergson’s élan vital, “freedom”, a quality meant to distinguish exclaimed by Isadora Duncan in “I See America and the later Deleuzian notions of intensity and American from Soviet culture by emphasising Dancing!”, modern dance has been associated becoming, as well as a commonsense register the “individual” and the “real”, reified in bodies with the emancipation of the individual in the of dance that views itself as a practice equally expressing emotion in movement. Local critics framework of liberal democracy. The core of the inspired by and extolling and inspiring life, energy, grappled with words to describe the vehement argument that justified modern dance’s critical love, enthusiasm, readiness, and other positive, approval of Graham’s audiences: “calmness to departure from ballet, and that still informs humanistic affects. Obviously, such affects are at motion, motion to serenity… those two and a half contemporary dance as the legacy of early odds with the manifest notions of war: conflict, hours gave whole audience deep emotion” in a modern dance, may be summarised as follows: choreography that “celebrates the beauty and dance embodies freedom as the universal and 1 Danser sa vie is the title of an exhibition dedicated to 20th- reality of the human body, even as it claws deep inherent human capacity for self-expression, century dance and visual art held at the Centre Pompidou in 2012. Dance War Social Choreography TkH 21 35 violence, destruction, and death. But there is military routines and courtly dances and levées to expression. Embodiment reifies both movement yet another element to the seeming opposition “make the aristocracy more peaceful at home and and emotion into an ideologeme, which may be between the Western art of dance and war, far more obedient to the royal will” (McNeill 1995, deployed as an instrument of divergent policies. which further problematises their conjunction, 134). So, if we, for a moment, peek into military making it seem less categorically an oxymoron. history and observe forms of movement exercised Situations with history ● First, I will Prior to the emergence of individual mobility from earliest times, from the ancient citizen- reconsider the epistemological framework within in 20th-century modern dance, Western theatre soldiers of Sparta, or, earlier still, from those of which one may draw relations between war and dance followed the tradition of courtly dance China and Mesopotamia, to the close-order drills dance as two distinct domains of knowledge. It from the 16th century onward, which later of today’s professional armies, the form and proves insufficient to attribute a stable meaning spawned ballroom dancing as a bourgeois meaning of the conjunction are finally inverted and effect to any aesthetic form of dancing counterfeit of the aristocracy’s participation in and we may speak of the role of war-dances in without reference to its original context. Thus not (or observing of) dance as a public spectacle warfare. The sense of community in times of every public manifestation of unison movement of both social etiquette and the divine order peace radicalises and militarises harmony and en masse suggests totalitarian Gleichschaltung. A of the monarchy. From ballet de cour to waltz, cooperation into group solidarity in times of war. general semiotic technology wouldn’t help in the this line of Western dance entertains the “Keeping together in time” is a laconic phrase for analysis of any particular situation, as it couldn’t aesthetic ideals of harmony and grace in the unison conforming to the beat – in harmony, but discern or discriminate this particularity, which order of community. Sir John Davies, an English without necessarily grace – comprising marching, might afford more knowledge than a confirmation poet from the 16th century, put it in verse: dancing, and singing together of soldiers and, of the general principle of signification. And, later, in modern European armies, the military in turn, dissimilar contexts might produce Concord’s true picture shineth in this art drills of marching, manoeuvring, and formal isomorphic movement practices, which would Where diverse men and women ranked be handling of arms performed at close intervals. question the determining structural instance And everyone does dance a several part, Hence, a converse set of ideas and affects is of context, but wouldn’t equate the status, Yet all as one in measure do agree, sustained in war-dances, a “muscular bonding” function, or meanings of these movement Observing perfect uniformity. that consolidates a euphoric “fellow-feeling practices due to their formal resemblances. All turn together, all together trace among the fighters” and heightens excitement Instead, a different analytical dynamic is And all together honour and embrace. as it stimulates and regulates emotion and required, one that will not operate upon the (Davies 1972) motivation. At first, this might not seem like relationship between the object, context, and anything new or provocative, but, indeed, quite interpretative perspective, categories extracted Around 1789, dance’s aesthetic image of in line with the role of sports, gymnastics, and from the situation in question. By contrast, harmony and grace mutated into a harmonious stadium mass movement in preparation for such a dynamic would try to account for the social arrangement between an individual and war. But McNeill goes on to suggest that it isn’t situation, whose heterogeneous components, the community, conforming to the rise of the the negative aspect of fear of punishment in a historical, political, aesthetic, and technological, bourgeoisie as a new political class. According disciplinary structure such as an army that fuels comprise different partial relations in lieu of a to Andrew Hewitt’s archaeology of the discourse warfare, but conversely, the “positive force” unilateral determination of cause and effect. whereby dance or physical movement embodied lurking in the “primitive solidarity of muscular By taking “situation” here as the central and rehearsed the social order, it was Friedrich bonding”.2 Recently, his thesis has been revisited comprehensive concept, I am referring to Isabelle Schiller who articulated the conflation of the by cognitive science, which, in tandem with Stengers’s epistemology of practice, or what social and aesthetic orders, in a letter from 1793: a post-Deleuzean political theory of affects, she calls “an ecology of practices”. It is also investigates the relationship between visceral the standpoint of one of the works discussed I can think of no more fitting image for the ideal of and emotional sensations, hormonal and other below, Franck Leibovici’s messages to bricklane social conduct than an English dance, composed of neural activities and states of “action-readiness” (parade ground), to which I owe this particular many complicated figures and perfectly executed. A in sundry social environments (Protevi 2009). methodology. Here, “situation” implies a network spectator in the gallery sees innumerable movements The emphasis is on deciphering the bio-social or a milieu of divergent practices and bodies of intersecting in the most chaotic fashion, changing agencement, whereby rage is triggered in order knowledge, activities and tools, materials and direction swiftly and without rhyme or reason, yet to promote a method of analysis that would signs, things and concepts, as well as divergent never colliding. Everything is so ordered that the one rest neither on social constructivism (whereby relations with other networks and milieus outside has already yielded his place when the other arises; context produces behaviour) nor in genetic this situation. Stengers defines an ecology of it is all so skillfully, and yet so artlessly, integrated determinism (or essentialist reductionism, practice as a “tool for thinking through” or “in into a form, that each seems only to be following his whereby behaviour depends only on a common the middle [milieu] of what is happening” (using own inclination, yet without ever getting in the way genetic make-up), but on their developmental milieu as a pun to denote both “middle” and of anybody else. It is the most perfectly appropriate systemic interaction. However, both positions “environment”). She asserts that “a tool is never symbol of the assertion of one’s own freedom and regarding the effects of the role of movement neutral” and is therefore not a general means regard for the freedom of others. (Hewitt 2005, 2) in keeping together in time – the harmonious that one may deploy in any situation, but is pacifying self-regulation of a community transformed by the hand that uses it (Stengers The social choreography that Schiller describes or, conversely, the training of belligerence 2005, 185). A tool is a technology that addresses above seems to reassert a pacifying sense of – attribute dance the power of persuasive and actualises the power of the situation, that is, harmony, virtuosic, yet conflict-free cooperation. describes the force whereby a situation develops At the same time, the harmony of dancing, in 2 Beneath the goals and glories that explained and justified and a practice sustains itself through empowering its early, courtly forms, had its counterpart European wars, lurked the primitive solidarity of muscular and experimenting together with other practices. in military marches and manoeuvres, equally bonding. Fear of punishment, though real enough in Old Regime The epistemic advantage of this method is that armies, was a pale second to the positive force of the shared prominent courtly rituals. William McNeill has emotional identity that routinely, naturally, inevitably prevailed it fosters thought as experiment, a speculation noted that Louis XIV deliberately reordered among well-drilled troops. (McNeill 1995, 132) that orients the researcher in the present 36 TkH 21 Social Choreography Bojana Cvejić

Just like thinking with Stengers, thinking with Jameson here will entail a methodological adjustment or modification, which might be viewed as a disappointing betrayal of hard, orthodox onto-political standpoints. What should be retained from Jameson’s theory, though it won’t suffice for my approach, is his assumption that ideology exists and acts through dance by the power of persuasive expression, as discussed above. But in order to understand how dance expression rhetorically conveys ideas, meanings, and values that relate to a given political reality without any explicit significance or attempting to act upon it, Jameson’s structure must be seen as a situation with a milieu, where no component or actor has causal priority, or the function of an absent cause whose narrativisation might prove enlightening. What might be gained from hybridising these two seemingly incompatible epistemologies – Stengers’s ecology of practice and Jameson’s ideology critique of the political unconscious – is a more varied account of ☐ “… in a non-wimpy way”, video by Bojana Cvejić and Lennart In the cases examined below, this resistance isn’t the situation, producing thinking tools rather Laberenz, a view of Danse Guerre, exhibition held at Musée de la deliberate, a matter of a politics of aesthetics, than disclosing blind spots. Simply, what I am danse, Rennes, France but more of indifference, silence, or refusal to suggesting here is that observing the interaction toward the future, with an obligation to accept position these dance practices in relation to between the respective practices of dance and the uncertainty and risk of what the situation, war as an immediate political circumstance of war from a critical standpoint might teach us or its actors, might become. However, what their habitat. Therefore, I will probe the thesis about how they relate materially in particular remains unaccounted for in this methodology, that war figures as the political unconscious historical situations. As a result, dance and war is an obligation, to use Stengers’s own term, of these dance practices. The concept was could be mutually re-cut (recoupement), re- to history, or to knowing to what history the proposed by Fredric Jameson who coined it assembled (re-agencé). Although its coinage researcher belongs or what history affects her, as a method of Marxist literary analysis. seems indebted to the tradition of reading and what histories embed, or vie for, grasping an Jameson’s theory of the political unconscious Marx alongside Freud, the political unconscious observed situation. The imperative to historicise, is a revision of Althusser’s version of the base- I am mobilising here isn’t a psychological or or produce a narrative that might not be in a major superstructure model of Marxism. Its main ideological term, but an aesthetic figure. It but in a minor key, might seem incompatible with claim is that the hierarchical two-level model doesn’t mean to say that either dance or dancers the ecology of practice method, as it implies a that Althusser retained from Marx (albeit by are politically unconscious of war, but that critical approach to the past, the usefulness or weakening its economic determinism) should dance has developed its own proper ways of inventiveness of which is too little for Stengers. be expanded into a horizontal structure of embodying or articulating its inability to address But if war and dance pose a problem that makes mutual relationships, whereby the economic war. What dance couldn’t do politically, it could us think, this problem also includes the respective and technological mode of production would displace, compensate, repress, or reconfigure in histories of war and dance, which play a role in immediately relate to culture, ideology, the an aesthetic form that bears on the contradiction identifying and describing the situations in which juridical, and the political, thus undoing between aesthetic expression and its immediate they relate to each other. Historicisation, rather the unilateral causal determination of the political context. Unpacking the contradiction than becoming, here also implies a discontinuity superstructure by the economic base. In will entail producing both technologies and in transformations of warfare and the concept his poststructuralist reconfiguration of historical narratives that will demonstrate what and discursive culture of war. It also includes the Althusser’s model, Jameson views history an aesthetic object couldn’t resolve by itself. historicisation of dance and its own technologies. as an absent cause in lieu of structure, In sum, choreography and dance I will test The Milieu of an Exhibition qua as tools that describe the situations in which inaccessible to us except in textual form, Research ● The conjunction of dance war or warfare is emergent or prominent. If and [...] our approach to it and to the Real and war arose from a commission to curate an choreography and dance offer a technology for itself necessarily passes through its prior exhibition that I received from Boris Charmatz, accounting for war and warfare, the practices of textualization, its narrativization in the choreographer and director of the National dance and choreography must in turn allow war political unconscious. (Jameson 1981, 20) Choreographic Centre of Rennes and Brittany, and warfare to recompose them as technologies also known as the Musée de la danse, after an of military strategy, military history, political In Jameson, the political unconscious of a eponymous project by Charmatz. Impressed by history, as well as juridical and other practices text is a contradiction that the text seeks to Eyal Weizman’s sophisticated intertwining of that cohabit and interact in the milieu of dance- compensate, displace, or repress. This is why architecture and other disciplines in his study war. The latter implies taking into account the he advocates the historical contextual analysis, of Israel’s occupation of Palestine (Charmatz resistance inherent in the legacy of post-war where history as an absent cause is a produced 2013) and curious about “putting the body” back modern dance – which I described above as the narrative which explains the relationships into the complex rhizomatic spatial strategies liberal, humanist, and vitalist heritage of dance. that give rise to its political unconscious. of contemporary warfare, demonstrated in Dance War Social Choreography TkH 21 37

Thematising war in the representative manner potentially entertains a political and aesthetic relation to war, beyond a programmatic engagement with the topic. Several works by Serge Lifar, ballet master of the Paris Opera from 1930 to 1944 and from 1947 to 1958, were neoclassical undertakings of heroic narratives from Antiquity (e.g. Alexandre le Grand from 1937). As neoclassicism culminated on the eve of WWII and maintained a classical disinterest in and distance from politics during the war, the heroic themes of Lifar’s neoclassical ballet were lofty abstractions that kept dance away from engaging with everyday political reality, thereby participating in the retour à l’ordre that sought to repress the chaos of war. What remains as a relic of l’art en guerre, as in the title of a recent monumental exhibition of WWII art, is a theatrical ritual that originated at the time, Serge Lifar’s Grand défilé.7 Still performed today, not only at the 19th-century Palais Garnier, but also on tour, this spectacle “remains one of the ballet ☐ From Danse Guerre, exhibition held at Musée de la danse, mutual description and analysis? Here, “afford” world’s most handsome and vivifying sights”, Rennes, September–October 2013; Watch Out For Gorillas In Your points to the notion of affordance, a quality of an inspiring awe, as a promotional text describes Midst!, video installation by Marta Popivoda and Ana Vujanović object or environment that allows it to perform an it. The parade of dancers from the company and action; the term originates from James Gibson’s school of the Opéra displays the disciplinary Weizman’s research, Charmatz initiated an theory of affordances as “action possibilities” apparatus of classical ballet, which remains exhibition project related to those topics at latent in a given environment (Gibson 1977). untouched in the neoclassical aesthetics of the Choreographic Centre in Rennes. He asked Lifar’s Paris Opera Ballet. Row after row– the Romanian curator Cosmin Costinaş and myself to We Play a Representation pupils first, then the artists of the troupe, in research, curate, and realise an exhibition under of War5 ● When an occasion permits the a sophisticated hierarchy of étoiles, soloists, the title of “Danse-guerre”. This text is a result illusion of beginning “from scratch”, research sujets, corps de ballet, etc. solemnly march to of the work I conducted both within and beyond can make broad sweeps into available material the music of Berlioz’s March of the Trojans. Their the scope of the exhibition, as my preoccupations by delimiting a particular field of enquiry from marching configuration mirrors that of an army were not only curatorial, but also theoretical its adjunct fields. One such adjunct field I parade: infantry first, then cavalry, individual and artistic. The resulting exhibition involves recognise and leave aside is the role of dancing in commanders, etc. (see the image on page 38). new works I commissioned from a number of prehistoric, ancient, medieval, non-European and While it might be astonishing that the Paris Opera choreographers, artists, video artists, filmmakers contemporary tribal practices of warfare, which has perpetuated this ritual for almost a century and theorists, including Shir Hacham and Ido concerns anthropology and history (Clastres now, it makes one wonder just what aspects of Feder (Hacham and Feder 2013), Franck Leibovici, 1994). I am more interested in scanning the the neoclassical retour à l’ordre still matter today. Marta Popivoda and Ana Vujanović,3 Noé Soulier,4 history of dance for works that feature war as Not only a refuge of high art, the Grand défilé is and Lennart Laberenz, with whom I collaborated a theme or subject matter. The history of ballet also a mastodon-like guardian of a number of on two videos. Their works make up the exhibition and classical dance has thematised war in a isomorphic parallels between classical dance as a choreographic agencement of documents, synchronic representative regime of narration, by and classical warfare à la Clausewitz and Jomini. texts, drawings, scores, video clips, interviews, celebrating victories in festivities that included Soulier’s installation explores how geometry and films, as well as other objects, such as dancing (e.g. Ballet de la prospérité des Armes becomes, on the one hand, a focal point of props and tools (see the images above/below). de France, performed only once in 1641),6 by the disciplinary training of ballet dancers and Hence, it is conceived as a machine and medium using classical and medieval myths and legends soldiers and, on the other hand, of organising for assembling diverse insights, concepts, and as allegories (e.g. Jeanne d’Arc, choreographed movement in space, in dance floor patterns and technologies in a milieu that itself asks to be by Salvatore Viganò in 1821; Tancrède, “ballet battle plans alike (see Soulier’s drawings). inhabited and tried. The exhibition’s starting héroico-historique en cinq actes”, choreographed The third and last area associated with the point and composition rest along a double axis: by Charles Le Picq in 1799), and by using dance thematisation of war in dance concerns the one, what were the historical moments and as a metaphor for duels and combat (e.g. George relationship between German expressionist aesthetic figures in post-WWII dance where war Balanchine’s Agon from 1957), comparable dance (Ausdruckstanz) and the expansion of surfaced as the political unconscious of dance?, with tableaux in classical painting and opera. the National Socialist regime until 1936, when and two, what instruments do dance, as an art Joseph Goebbels dismissed dancing from public discipline, and warfare “afford” for their own 5 “Ludimus effigiem belli” or “We play a representation of war” political manifestations in favour of marching. is the opening verse of the poem “Scaccia ludus” (“The Game of Chess”) by Marco Girolamo Vida or Marcus Hiernymous Vida A substantial body of dance scholarship has 3 Watch out for gorillas in your midst ! (Faites attention aux (?1485–1566), written in 1527. been debating the political significance and gorilles parmi vous !), video installation by Marta Popivoda and 6 “Ballet de cour en 5 parties et 36 entrées, musique par F. de Ana Vujanović. Chancy, livret attribué à Desmaret de Saint Solin, donné les 7 et 4 Corps formés, installation with drawings, text, and video by 14 févr. 1641 au Palais-Cardinal à Paris, par les gentilhommes de 7 Lifar’s creation was preceded by Le Défilé,a 1926 ballet by the Noé Soulier. la cour et quelques danseurs professionels.” Opéra ballet master Léo Staat. 38 TkH 21 Social Choreography Bojana Cvejić

☐ Grand défilé by Serge Lifar, unknown source various materials – the score and notes, texts, no reactions to or deliberate discussions of the photographs, and drawings – were meticulously topic of war in the creation process, as they position of Mary Wigman, Gret Palucca, and other collected and published in Rainer’s Work were working on “similar material [as] in class”, choreographers and pedagogues who remained 1961–73. In Rainer’s own words, WAR was that is, games involving group improvisation, in Germany after 1936 and continued their work, and because “it was just a given that everybody deemed politically “neutral” (Preston-Dunlop [a] huge sprawling non-competitive game-like there was against the war”. Earlier that year, 1989; Manning 1989; Kew 1999; Toepfer 1997). piece for 31 people […] an ass-backwards war, Rainer took part in a week of protests against However, this neutrality seems dubious when with people willingly relinquishing the flags and the Cambodian Incursion, using the famous compared to the explicit anti-war statements opting for capture and death. Physical metaphors walk of workers from Fritz Lang’s Metropolis of Kurt Jooss’s The Green Table, made one year for war without motivation. (Rainer 1974, 161) as a choreographic image for a protest walk before Hitler came to power, and, moreover, in in SoHo with a group of performers (see the light of Jooss’s decision to flee Germany when This prompted me to investigate this work, image on page 39). After WAR, Rainer was he refused to dismiss Jews from his dance of which the author herself, forty years on, also invited to protest against censorship company. Expressionist topics, such as death apparently didn’t think much. In my unearthing of concerning the use of the American flag in and mourning, pervaded German expressionist Rainer’s WAR, I focused on the ways in which this the People’s Flag Show event, where she and dance in the 1930s, regardless of its political choreography treats war and relates to concrete another five dancers performed Trio A in the positions – complicity, neutrality, or pacificism. political events of the Vietnam War in 1970. All nude, wearing only flags tied around their necks Such disparate cases as Jenny Geertz, Otto further observations result from the interviews (9 November1970, Judson Memorial Church). Zimmermann, Martin Gleisner, Harald Kreutzberg, Lennart Laberenz and I conducted in June and When I asked Rainer about her sources Mary Wigman, Gret Palucca, as well as the August 2013 with Rainer and Pat Catterson, a on military manoeuvres, she restated her notorious opening dance of the 1936 Olympics, dancer who took part in creating and performing claim from Work 1961–73 that she had Vom Tauwind und der Neuen Freude (Of the Spring WAR in 1970. We interviewed Rainer and Catterson read descriptions of war in the Iliad and the Wind and the New Joy; see Cvejić and Vujanović, for the purposes of two video films we made, Peloponnesian War, but did not refer to any 67–68), demonstrate how metaphor, symbol, Yvonne Rainer’s WAR and Judson Flag Show. literature in particular or any other sources. and archetype offered ideologically charged but The composition of the 31 performers of WAR The score contains references to war that are politically indeterminate, or at least ambiguous, reveals its context: it was a group comprising either deliberately generic and arbitrary – lists figures of signification. What these cases also mostly artists and filmmakers and a few of military terms such as “encirclement” and show is that thematising war in dances that dancers, who all took Rainer’s improvisation “accelerated pacification” and verbs with were made in times of war, especially those of class in her loft, “people interested in having “an aggressive cast” (Rainer) such as “kill Goebbels’s “total war”, invites judgement on the physical experience and I don’t think they and split”, “search and destroy” – or specific political involvement of the choreographers, knew what they were getting into” (Catterson). quotations from various historical accounts of which might impede a more sophisticated Catterson couldn’t recall if Rainer had ever war, the two longest among them conveying analysis of how and why those dances mattered explicitly said that it was going to be about war, critical commentary on US operations in and what kind of message they tried to impart. when she invited the participants of her class Vietnam. But the main objective of Rainer’s A rare, if not the only, choreography to make a piece and perform it side by side with quest there is revealed in the indeterminate recorded in the history of dance in the West the Grand Union’s improvisations at Rutgers that explicitly foregrounds “war” in its title University, New Jersey, on 6 November 1970. “I structure of the piece [which] overall was a and in all capital letters, is Yvonne Rainer’s think she said she was going to use language game structure. The two groups had rules: if this WAR from 1970. Performed only twice, as a from war, war maneuvers, and create movement happened, then that happened. If you initiated these “side event” accompanying a performance that would come out of this language” maneuvers, others had to join in or you could, like, by the Grand Union, the work largely went (Catterson), but she didn’t mention that the be a scout or a spy, or go to the others… You could unnoticed by the critics, while Rainer herself performance would also include reading texts be captured. There were a lot of contingencies never even saw it in performance. However, its about war. According to Catterson, there were based on a big list of possibilities. (Rainer) Dance War Social Choreography TkH 21 39

The two groups were generic, too, bearing no WAR and her other pieces alike – still seems to the effect of relativising and neutralising the particular signs of being two opposing parties suggest that she counted on a political impact “garish symbol of warmongers” (Catterson). at war, while the only function of the leaders of the open form, imbued with the aesthetic of Asked if she was aware of the political was to shout commands, such as “infiltrate”, or indifference. She explained this in the interview: significance of Rainer’s operation names of group manoeuvres, such as the “Mary Games have a benign competitiveness. This in WAR, Catterson reflected and Wigman clump”, which were effectively equivalent was like a simulation of antagonism. There was a stammered in front of the camera: to dance tasks. For instance, one of the war certain amount of competitiveness but it wasn’t manoeuvres was based on ballroom dancing, antagonistic. Maybe not even related to sport, What was Yvonne’s intention with this? What did where a couple had a pillow between them and because there was no winner or no loser involved. she want? That wasn’t really conveyed to us. We each “had in mind a different ballroom step”, so Catterson explains that the games were played were just doing what we were asked to do, just like “they were at odds”. As Rainer told me: “It was without objectives, often in long manoeuvres in class. For me, what I heard – texts performed a conflict, right? Neither could follow the other. that took time to develop, but which by Norma ... – they were … from different kinds of They were all strung out like twenty couples”. was kind of fitting to how the war felt at that time… battles that Yvonne had collected… It wasn’t lost Rainer used dissonance or clumsy dancing in It was just an ongoing play of these possibilities on me, this juxtaposition of these young people – couples as a literal, physical metaphor of war. that just persisted. It was just like the... war… They in…. – playing the war against this very real voice. In line with her style of matter-of-fact, neutral take this city, and that one. It just goes on and What was it saying, you could interpret for yourself. performance, this was done “in all seriousness” on, nothing changes, nothing gets resolved. but “low-key… where you don’t do a hard sell, The only element that provided a provocative And, as though answering Catterson’s you go about your own business” because “the edge to the limits of representing war in the question, Rainer told us: “Well, in a war the maneuvers speak for themselves” (Rainer). US was the use of the American flag. The motivation is patriotism and belief that you The audience’s impression of a large group of performance at Rutgers University was going have a righteous cause… There was no such people playing war was confirmed by both Rainer to be cancelled on suspicion of desecrating the backstory here. It was simply a matter of and Catterson. Rainer referred to it as a “faux flag, which is why Rainer introduced an artificial representing the effects, you know, pictorially”. contest”, where one could choose to be captured grass mat and an overcoat to put under the and there was no dramatic interpretation of flag so it wouldn’t touch the ground. But the * * * roles. In retrospect, her reservations about the American flag wasn’t the only prop that could be Here, Rainer’s WAR provides an occasion to political meanings of her politics of aesthetics – used in “capture-the-flag”, a game Rainer told make another few points about the concern and or the politics of form as the regime that governs me she played as a child on the streets of San capacity of choreography and experimental art Francisco. There was also Jasper Johns’s green in the US to engage with the issue of war in the ☐ M Walk Protest in SoHo, Yvonne Rainer’s Papers, Getty and orange replica, which, when juxtaposed with 1970s. For most middleclass artists who were Research Institute the red, blue, and white stars and stripes, had able to avoid the draft due to their marital or student status, the Vietnam War was going on in a remote elsewhere. Furthermore, “bringing the war home”, as Martha Rosler indicated in her eponymous work, entailed denouncing the US government for lying to its citizens. Testimonies of disillusioned Vietnam veterans could do it better than art practices whose main objective was to wage war against representation.8 In the aesthetic realm of investigating the Judson Dance Theater’s any-movement-whatever and any- method-whatever, focusing particularly on the everyday, military tactics could be yet another source of material for choreographic exploration. Perhaps Rainer was confident that her formalist juxtapositions of generic war manoeuvres and verbal references with a confused mixture of concrete war events, including the Vietnam War, could have the political impact of emasculating all but self-referential meaning. After all, the American flag was the main symbol and means of the warmongering, which contextually amplified the effect of just using the flag, beyond the

8 For instance, this would include the Winter Soldier Investigation, a media event sponsored by Vietnam Veterans against War (VVAW), an organisation of Vietnam veterans who decided to speak in public about atrocities committed by the US in Vietnam, as well as the misrepresentation of the Vietnam War in the media. As Steve Paxton told me, he decided to devote a performance of his to a screening of Winter Soldier, a 1971 documentary about the Investigation, in order to give more publicity to what wasn’t getting enough attention in cinema. The resulting performance was called Collaboration with Wintersoldier (1971). 40 TkH 21 Social Choreography Bojana Cvejić

☐ Yvonne Rainer’s Papers, Getty Research Institute (list of verbs compiled for WAR) Dance War Social Choreography TkH 21 41

☐ Yvonne Rainer’s Papers, Getty Research Institute (handwritten draft for the chapter on WAR in Y. Rainer, Work 1961–1973, 1974) 42 TkH 21 Social Choreography Bojana Cvejić

perception of outsiders in the context of the 1970s. Forty years on, CI is a movement practice ☐ Steve Paxton (portrait), photograph by Lennart Laberenz 1970s US. By running war manoeuvres through and training technique that in the eyes of its her techniques of rule-game improvisation, Rainer advocates still conveys its original motives as athletics, which coincided with his explicit tied a sense of being-in-tune with daily politics a social movement (egalitarian, emancipatory, action-pieces against the Vietnam War and to a modernist quest for affirming choreography explorative, non-discriminative, claiming the the Nixon administration (e.g. Collaboration and performance, whose structures no material political meaning of spontaneous immediate with Wintersoldier, 1971 and Air, 1973). The could perturb. The political unconscious of this physical action, as opposed to deliberative question that prompted me to re-examine the operation lies in the resulting imagery as a thinking, etc.). But according to those who do not genealogy of CI was aikido: what this martial contradiction in Rainer’s politics of aesthetics, share the “contacters”’s enthusiasm, the early art, known for redirecting attacks and blending because, despite its void formalism, Rainer’s WAR criticism that some of its practitioners raised with the attacker , did for Contact Improvisation represents war as a game. An important difference inside the movement has been vindicated. While in relation to war and engagement in physical between WAR and the tradition of war games – it aspired to become a grassroots “folk art”, it struggle. What happened to the more robust for instance, the 18th-century Kriegsspiel, which was recognised early on as serving the needs of athletic qualities of the early attempts, such served in the strategic training of the Prussian white, liberal, middleclass, college-educated, as those of Magnesium (1972), the inaugural army,9 or its more recent descendents, such as young people (“Contact makes ourselves whole: it piece of CI that Paxton developed with a class Guy Debord’s jeu de la guerre, which resembles balances us”, a dancer told me). Over time, it has of young men, not dancers but athletes at chess in its attempt to rehearse “the dialectics developed a virtuosic technique of a duet form, Oberlin College? As Paxton told me, the first ten of all conflicts” (Debord and Becker-Ho 1977)– with the emphasis on contact outweighing the minutes of this performance comprised “roughly is the sense of demotivation, indifference, and risks of jumping, falling, and colliding in midair. colliding in the air and falling on a wrestling even “fun” in Rainer’s piece, a playfulness akin The CI community gathers around a holistic mat”. Was there any deliberate or latent to “kids playing” (Catterson) that underscores conception of the self, which, according to Mark connection between the roughness of CI as an Rainer’s choreographic gaming (with) war. Pritchard, an ex-contacter, promotes a “passive art-sport in the 1970s and post-war political perspective on life”, “relaxation” as more natural attitudes, moods, and positions? In …in a non- To Study Fighting Is Something We than tension, going “with the flow of natural wimpy way, a film I co-authored with Lennart Can’t Be Afraid to Do ● The emergence events, rather than attempting to shape those Laberenz, Paxton addresses these questions. of Contact Improvisation (CI) coincided with events on one’s own” (Pritchard 1997, 197). In stark contrast to many dance idioms the demise of the antiwar movement in the mid Before it came to be criticised as a New that emphasise verticality (e.g. ballet and the Age shuffleboard, “a post-hippie suburb of Cunningham technique) or walking (pedestrian 9 Kriegsspiel was devised by Lieutenant Georg Leopold von Reiswitz and his son Georg Heinrich Rudolf von Reiswitz of the the soul”, CI was an art-sport that emerged attitudes and styles), CI introduces falling as Prussian Army. from Steve Paxton’s training in aikido and its central notion. Nancy Stark Smith, a notable Dance War Social Choreography TkH 21 43 dancer from the first generation of contacters, What attracted him to aikido was the movement me to ask, perhaps tendentiously, if contacters describes her experience of learning how to fall: alone, which he found “beautiful” and only could be regarded as a special kind of warriors, later realised that his interest in aikido had to equipped with a technique for the preservation When I first started falling by choice, I noticed do with its counter-technique of fighting: of themselves and others? Paxton disagreed: a blind spot. Somewhere after the beginning and Even though I was training the dancers with before the end of the fall, there was darkness. And It was a profound shift from dancing to go martial arts and with challenges to their perceptions then the floor. Luckily, there were mats at first. into aikido movement and suddenly not have and their orientation and their actual strength, Soon I learned that the end of the fall was the art be the reason you were moving the way you and all of that, the point of it was that they aren’t beginning of another move, usually a roll. That gave were, but you were moving the way you were for warriors. The point of it is, that whatever they’re me somewhere to go. So I rolled. At the end of that survival [emphasis mine]… You were responding doing, because it’s an improvisation and because roll was another roll, and at the end of that, another. with harmony to the violent – unbelievable! it’s one which is defined in almost the most general Then, I noticed another blind spot. Somewhere The preservation of all concerned, you know, terms of, you know, Newtonian physics, there after the beginning and before the end of the roll, is just a very broad sweep of thinking there. isn’t a person described in the proposal. What’s there was darkness. In that darkness, however, absent is psychology, emotions, intellect – lots I noticed a body moving, a body that knew just The myth of aikido’s birth follows the of the stuff that we know we are and have. where to go. (Stark Smith and Nelson 1997, 50) revelations of its founder and guru, Morihei Ueshiba. The third spiritual awakening His definition of the type of subjectivity Paxton associates it with the aikido roll, occurred to Ueshiba during his service in engaged in CI is adamantly negative: it denies which gave him “the idea that you could WWII, when he had the following vision: all meaning and content to categories that are just jump off the planet and not worry about necessary for constituting any kind of position. how you were coming down”. The aikido roll The Way of the Warrior has been misunderstood. It Another part of Paxton’s CI training since the is “a brilliant demonstration of the physics is not a means to kill and destroy others. Those who 1970s is his “Small Dance”, comprising the of falling”, but even more importantly, it seek to compete and better one another are making final five minutes of Magnesium and featuring is a way to save oneself from injury: a terrible mistake. To smash, injure, or destroy is men just standing still. Paxton explains it as Because if you’re going into the fall, if you’re the worst thing a human being can do. The real Way a method of “detraining”: “getting rid of the projecting into the fall, then you have just that of a Warrior is to prevent such slaughter – it is the masks that we have, the social and formal little fraction of control of the fall and you can Art of Peace, the power of love. (Hyodo 2010, 76) masks, until the physical events occur as they change the direction of the accident into one will”. For Paxton, detraining means peeling that’s favorable to your body and its situation. Apart from the utopian function of showing off the social, historical, stylistic, formalist In falling and other situations that he later another way of fighting, one that dissolves skin-layers of the body, in order to reach the developed in CI, Paxton detected a perception he bipolar conflict by protecting the attacker “masses, bones, nerves, and sensations”: wanted to use to work from within it: the body from injury, Paxton views aikido as engaging is highly adrenalised, “something is happening in struggle, which, he contends, one can’t be I stress that the dancers are people not in the to you that you don’t quite understand, that afraid to do. The aim of studying this movement social sense but in the animal sense in this kind you think might be dangerous”, or it can also be is to liberate one from potentially falling victim of dancing, that they should not smile, should not dizziness or disorientation. But the apprehension to an attack. If you don’t take a “self-inflicted make eye contact, should not talk, that they should arises from not being aware of danger, which, position relative to aggression”, or, in a word, if just be there as animals, as bundles of nerves, as he maintains, is something one can adapt to. you don’t “wimp out” in a fight, you are not an masses and bones . . . touching the other bundle easy target: “it’s much more complex for people and letting that be the work. (Paxton 2004) ☐ franck leibovici, messages to bricklane (parade ground), a to attack you because you’re not presenting view from Danse Guerre, exhibition held at Musée de la danse, Rennes yourself as a victim” (Paxton). This prompted The negative definition of subjectivity produced in and by CI should be taken in the broader perspective of the Mad Brook Farm, situated in the beautiful scenery of northeast Vermont (the “Northeast Kingdom”), where Paxton and several other comrades from the post-Woodstock, post- 1969 generation famously retreated, and where our conversation took place. This community, once a hippie-style colony merging life and work and now a place to work, grow one’s own organic food, and grow old, far from the cities and suburbs of the US, seems quite withdrawn from society.10 Seclusion rests on negation, an internal

10 Half the nation is overweight, what does that mean? What does that mean in terms of our food production, our food preparation, our lives, I mean, I’m depressed, you know, I think it’s a trap, I didn’t possibly think it could happen this fast, I thought it took centuries for empires to decline, not a generation. Didn’t know you could just kind of fall off your throne, you know, and flail helplessly, trying, you know, that used to be – I used to be up there but now I – I somehow can’t seem to get up, you know. That – I – something like that seems to be happening, whether we will fall off entirely and not be able to get up, I don’t know. (Steve Paxton in …in a non-wimpy way) 44 TkH 21 Social Choreography Bojana Cvejić Dance War Social Choreography TkH 21 45 mechanism of protection that could be explained by way of Roberto Esposito’s understanding of immunisation. Immunity is a defensive apparatus that has both biological and juridical registers: vaccination protects the body from a given virus by infecting it with that same virus, so that the body produce an army of antibodies in defence; in law, immunity means being exempt from prosecution. In a political register, immunity means exempting the subject from his/her obligations and responsibilities that would apply under normal circumstances and bind him/her to others. It intertwines life and power through a negative form that protects and preserves life. Esposito contends that immunisation

saves, insures, and preserves the organism, either individual or collective, but it doesn’t do so directly or immediately; on the contrary it subjects the organism to a condition that simultaneously negates or reduces its power to expand. (Esposito 2006, 24)

This is why the negation of power is also to an extent a negation of life, but is necessary in order to preserve it. Therefore, CI, in Paxton’s (Virilio and Lotringer 1997). Since the 1990s and ☐ franck leibovici, messages to bricklane (parade ground) account, implies a perfectly cogent contradiction. especially after 9/11, the “nature” of war has video still If for most of those who practise CI to have appeared to be more “impure” and asymmetrical, a much healthier spine than other people, as the fragmentation of terrorist civil wars about their usefulness today, when wars are training means reducing oneself to a physical has fused with the international warfare of increasingly waged remotely and automatically, being, negating all that might be considered expedient military, “humanitarian” interventions. with drones, hijacks, suicide bombs, snipers, an obstacle in this process (one’s intellect, Hand-to-hand fighting between two or more etc. Leibovici remarks: the training mat and the political ideas, passions, etc.), then the gain in warring sides in an officially declared war, battlefield can hardly coincide. Additionally, in such a training regimen is the private spineless has been replaced by low-intensity conflicts, this video we see an audience sitting around the life of a subject who is immune, indifferent, protracted struggles involving state and non- camp, and the training session seems more like or powerless in the face of politics outside state actors, often in asymmetrical guerrilla an ostentatious parade for family and friends. of her/his own immunised community – in a warfare, with civilian casualties that at first Leibovici uses choreographic tools to record non-wimpy way, perhaps, but still a wimp. seem low but over time amount to the sort of and analyse the group’s movements. Two numbers familiar to us from classical warfare. experts transcribe it by means of Labanotation. Choreography: An Instrument for Franck Leibovici has been investigating low- They also notate it orally, by means of running voiding Ideology ● Examining CI in the intensity conflicts through various materials commentary. The resulting text is then given to aftermath of the Vietnam War demonstrates circulating in the public domain (propaganda a group of non-dancers, who are asked to derive the persuasive expression of dance, seeking to films, magazines, manuals, songs, etc.), gestures on the basis of the transcription. In a immunise itself from war and aggression, which it treating them as objects that “afford” functions, series of re-descriptions, the training movements attempts to do both physically and conceptually. movements, and idiorhythms that may teach gradually lose specificity and grow increasingly But its image of war is one of body-to-body us about various registers of these situations. heterogeneous and generic, unrecognisable, fighting, where aggression is manifested in bodily He has pursued his research in a series of mini- floating context-free. What this choreographic terms. War, erstwhile fixated in the imagination operas for non-musicians, where opera stands re-description uncovers, Leibovici writes, is that: as a classical, symmetrical struggle and direct for a variable configuration of heterogeneous confrontation on the battlefield, or “theatre elements. In messages to bricklane (parade exercise shapes bodies as well as spirits. and of operations”, was declared dead in the late ground), a non-choreography for non-dancers, only the public, audiences and collectives produced 1970s (Paul Virilio), when it gave way to the he re-describes a video found on the Internet, by those trainings could distinguish between “nuclear faith” in an ultimate weapon, meant to which shows a political group undergoing movements that are formally identical. if not, how deter the enemy and impose total peace. Paul military training in an improvised camp. Their could we explain that the same props can be found Virilio sees this peace as a continuation of war props – tyres, tubes, barbed wire, sandbags – in military training camps, in kindergarten, in health with other means – with the art of deterrence, evoke the spirit of guerrilla improvisation, as walks, in dance shows? an exercise cannot be read which perpetuates a “pure”, logistical war a promotional magazine advertises it, how to but through its consequences. and only this kind through infinite preparation without execution get in shape without weights. According to the of understanding will allow to grasp that although ethos of guerrilla warfare, exercise can happen they might use similar gestures, robert morris’ ☐ franck leibovici, messages to bricklane (parade ground), anywhere, like a prayer, without mediation. bodymotionspacesthings or william forsythe’s fact of Laban notation But in the video, the group’s training looks like matter, are nonetheless attached to different worlds, ☐ franck leibovici, messages to bricklane (parade ground) dancing, composed of movements that would be whose publics are distinct. no artistic practices floorplan useless in actual fighting. Thus one must wonder exist, only distinct ecologies. (Leibovici 2013) 46 TkH 21 Social Choreography Bojana Cvejić

Although a sample of social choreography, Manning, Susan. “Ideology and Performance between Weimar of utilising movement that resembles the and the Third Reich: The Case of Totenmal”. Theatre Journal 41/2, 1989, pp. 211–223 genre of war-dance, whose purpose is to bond Mcneill, William Hardy. Keeping Together in Time: Dance and people muscularly, socially, and ideologically in Drill in Human History, Cambridge, MA: Harvard University Press, preparation for war, the military training dance 1995 Paxton, Steve. “In the Midst of Standing Still Something in this video is only a parade, a self-referential Else Is Occurring and the Name for That Is The Small Dance”, internal-network propaganda image that says interview, 2004, http://spa.exeter.ac.uk/drama/research/ little about how, why, when and where, in what exeterdigitalarchives/theatre_papers/paxton.pdf (February sense, and for whom these warriors will fight. 2011) Preston-Dunlop, Valerie. “Laban and the Nazis: Towards It preaches to the converted, like Rainer’s WAR an Understanding of Rudolf Laban and the Third Reich”. Dance did. By contrast to Rainer’s work, where the aim Theatre Journal 6/2, 1988. was to probe a choreography based on military Prevots, Naima. Dance for Export: Cultural Diplomacy and the Cold War, Middletown, CT; Wesleyan University Press – Hanover, tactics, here, Leibovici uses choreography to NH: University Press of New England, 1998 inspect a situation, rewrite documents with Pritchard, Mark. “My Rise & Fall in Contact Improv”, in poietic means. Perhaps the political effect of Nancy Stark Smith and Lisa Nelson (eds.), Contact Improvisation Sourcebook: Collected Writings and Graphics from Contact 11 Leibovici’s “poetic documents” is that they Quarterly Dance Journal 1975–1992 (Northampton, MA: Contact banalise and “bring home” a weak image of Editions, 1997), pp. 196-197. war, in contrast to the fear that underlines Protevi, John. “Rhythm and Cadence, Frenzy and March: Music and the Geo-bio-techno-affective Assemblages of Ancient images of weapons of mass destruction and Warfare”, http://www.protevi.com/john/MusicWar.pdf, 2009 (18 fanatical terrorists. This document poétique is October 2013) an assembly of choreographic tools that invites Rainer, Yvonne. Work 1961–73, Halifax, NS: Press of the Nova the spectator to use them performatively – for Scotia College of Art and Design – New York: New York University instance, to execute movements with props Press, 1974 and timings provided. And, perhaps, one’s Stark Smith, Nancy and nelson, Lisa (eds.). Contact performative experience decelerates reason, Improvisation Sourcebook: Collected Writings and Graphics from Contact Quarterly Dance Journal 1975–1992 (Northampton, MA: which forms opinions or strong passions about Contact Editions, 1997) events and actors who are far removed from Stengers, Isabelle. “Introductory Notes on an Ecology of the spectator, who isn’t entangled in them. Practices”. Cultural Studies Review 11/1, 2005, pp. 183–196 Toepfer, Karl Eric. Empire of Ecstasy: Nudity and Movement Here, social choreography is not an instance in German Body Culture, 1910–1935, Berkeley: University of of aesthetic ideology, but an instrument that California Press, 1997 slows down ideological judgement. ■ virilio, Paul and Lotringer, Sylvère. Pure War, New York: Semiotext(e), 1997

Works Cited: Charmatz, Boris. “Invitation à Cosmin Costinaş et Bojana Cvejić”, in Danse-guerre, exhibition catalogue, Rennes, France: Musée de la dance, 2013, pp.1-2 Clastres, Pierre. Archeoogy of Violence, New York: Semiotext(e), 1994 Cvejić, Bojana and vujanović, Ana. Public Sphere by Performance, Berlin: b_books, 2012 Davies, Sir John. “Orchestra, or a Poem on Dancing”, in Gerald Bullett (ed.), Silver Poets of the Sixteenth Century, New York, Dutton, 1972, p. 52 Debord, Guy and Becker-ho, Alice. Jeu de la guerre (Paris: Champ libre, 1977) Esposito, Roberto. “The Immunization Paradigm”. diacritics 36/2, 2006, pp. 23–48 Gibson, James. “Theory of Affordances”, in Robert Shaw and John Bransford (eds.), Perceiving, Acting, and Knowing: Toward an Ecological Psychology, Hillsdale, NJ: Lawrence Erlbaum Associates, 1977, pp. 69-81. hacham, Shir and Ido Feder. “A Dancing Body Offers Legitimacy to the State”. TkH 21 , 2013, pp. ??–?? hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement, Durham, NC: Duke University Press, 2005 hyodo, Roger. Adjusting Throught Reflex: Romancing Zen, Bloomington, IN: AuthorHouse, 2010 Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca, NY: Cornell University Press, 1981 Kew, Carole. “From Weimar Movement Choir to Nazi Community Dance: The Rise and Fall of Rudolf Laban’s Festkultur”. Dance Research: The Journal of the Society for Dance Research 17/2, 1999, pp. 73–96 Leibovici, Franck. messages to bricklane IV, installation score, 2013

11 Document poétique is Leibovici’s term for those works where he uses the techniques of an art discipline (music, dance, poetry, etc.) to analyse a manifold situation and produce it into a poetical document. A Dancing Body Offers Legitimacy to the State Social Choreography TkH 21 47 A Dancing Body Offers Legitimacy to the State

Ido Feder & Shir hacham ● ● One there was no folk present at hand, and thus no ideal body that would not just represent, but of the key endeavours of the Zionist movement folklore that could be historically useful for also manifest their Zionist-socialist ideological right from the start was to constitute a new nation-building. The only available cultural, dream. Naturally, these explorations were body for the new Jew. To have a land and nation linguistic, and contextual sources were (1) the quickly adopted by the nationalist agenda, of one’s own, one must also claim a real body Biblical Jewish kingdom that had existed 3,000 which happily used dance as a tool in the – national, ethnic, religious, and civic – as well years ago and (2) the more recent Jewish identity, competition for visibility, legitimacy, and the as a corporeal body that could sense and make rooted in the Diaspora, exile, and dispersed public and social demonstration of power that sense of its environment. In a word, the Zionist bodies. The Biblical stories were indeed often engulfed the region under the British Mandate. movement for the constitution of a Jewish used in the arts but only to support Israel’s For example, the work of Baruch Agadati, then a nation-state depended on the reification of its claim of legitimacy over the land and were not young dance maker and visual artist, notorious national body. This desired body would no longer a solid foundation for the new Jewish identity. for his Purim balls in Tel Aviv, which he organised be “sheep at the slaughterhouse”, as the Jewish The exiled identity, of course, was condemned as part of his artistic explorations, was loyally people were in the hands of the Nazi regime, nor to erasure, as it couldn’t serve the aspirations adopted by the Jewish leadership. Thus, what would it revert to the “spiritual people of the of Jewish nationalism to appear as autonomous, had begun in 1912 as Hebrew Bacchanalia, Holy Scripture”, who, due to excessive study, strong, and free, but instead was a constant ended up in 1928 as a nationalist parade under ended up with a neglected physique. The new reminder of Jewish suffering and misfortune. the title of “Ten Years for the National Home”.1 Israeli, the future Sabra, the Israeli-born Jew, And so, this new folk had to be summoned and This nationalist affirmation of dance kept would be thorny like the desert planet (Almog interpellated from vast spatial and temporal developing and thus today, in 2013, we may say 2000), work the land, be pioneer and warrior. distances, whilst at the same time engaging in that the Israeli state warmly accepts dance. Over the years, Israeli art and various academic an actual process of embodiment in constructing The Israeli Ministry of Culture unequivocally disciplines, such as sociology, art history, “Israeli Jewishness”. Using different techniques states in their various publications that Israel political science, cultural studies, etc., have all of fabulation, including dance, the Jewish nation is an “empire of dance”.2 Yet, unfortunately, extensively sought to describe the new Israeli was now posited as a new nation of an old people, recent history has repeatedly demonstrated that citizen and the creation of the new Israeli body with timeless and divine legitimacy that would besides being an “empire of dance”, Israel is an politic. These scholarly attempts have tried now, finally, become a fact in and of the region. exemplary militaristic society – as empires tend to understand the general act of fabricating The unique body of Zionism, asserting this to be. Thus, to read Israeli dance in isolation culture, in which the incipient nation had to new national presence in the region, had to from its militaristic environment would be a partake. As such, an enquiry into dance in Israel access other sources, which would no longer misconception. This is because the “dancing might shed light on the embodiment processes be associated with the Babylonian Captivity. body” and the “body in combat” are not two of the fabulatory machine that worked hard to Hence, Western theatrical dance was co-opted different entities, but rather one and the same, produce a new Israeli ethos. Israeli poetry revived and recruited for the sake of promoting the new, simultaneously fighting a war for legitimacy and and reinvented the Hebrew language (Harshav tenacious, and creative body that Israeli dance dancing for presence and visibility. Moreover, 1990); architecture envisioned a land serving its aspired to develop. Right from the start, various we hope to show that both practices serve geopolitical needs by redistributing population dance makers who had heeded the Zionist call the same ontological and political mission of and space (Segal et al. 2003); and dance and immigrated to Palestine were artistically and being and producing a valid and legitimate investigated an authentic dancing body that intellectually curious about the ability of dance embodied nation in the region. In other words, could reveal something about the constitution to constitute a “true” or “authentic” body for the seizing land by means of war, occupation, and of the new body of the new Jew. Moreover, this future state of Israel. These modernist dance quest on the part of the local dance community makers, most of whom were inspired by German 1 For more on Agadati’s Purim balls and early Tel Aviv in general, see Gross 2009. didn’t develop from an existing Israeli folklore, expressionist dance, believed in the power of 2 http://www.mcs.gov.il/Culture/activities/Dance/Pages/about. as was the case in European cultures, because dance to unveil and constitute a legitimate and aspx (Hebrew) – accessed in October 2013. 48 TkH 21 Social Choreography Ido Feder i Shir Hacham conquest was and still is a constant task for the chosen (and why) in the Israeli dance field that all Jewish immigrants. By contrast, the dancing new Jew and thus an inseparable component of contribute to the struggle for presence in the body was considered apt to provide the nation the national imagination, still present in all its region? And what is it in dance that can reinforce with an origin to all of the above, since it was endeavours. But Israeli culture continues to deny the legitimacy of the Israeli national body to such neither a depiction of the “local savage”, nor its legitimacy problem: mainstream political an extent that the state so eagerly adopts it? could it qualify as foreign or colonialist. discourse forcefully rejects the colonialist As mentioned before, Israeli dance didn’t grow Thus the Western dance canon was a fertile tradition and history that gave birth to the Israeli out of an existing local tradition. Of course, there material and ground for this procedure, as it was state and its constant oppression of Palestine. were many attempts to use local Arabic and perceived as an already global, universal, and Due to this denial, the hegemonic forces in Israel Levantine influences, but these were ultimately expressive language, identified with the superior produce and emphasise various and competing rejected by the European project that was the West and supposedly offering a legitimate meta- arguments to shore up Israel’s legitimacy and ideological and cultural basis of Zionism.3 Those language that was well suited to the ongoing account for its actions, such as the “security attempts were branded as “folklore” and were national fabulation of Israel. Israeli dance threat” or its dubious claims on ancient Biblical thus expelled from the high art of Israeli dance. In instrumentalised this attribute of Western dance land, when trying to justify the occupation of other words, they retain something of the “local” – universality – to support the desire to fight the the West Bank and Gaza, ongoing since 1967. or some traits of Israel’s hybrid identity and thus war for originality and survival in the region. If As such, these two embodied practices – dance are not regarded as real artistic creations that war meant the actual competence to erase the and war – are not opposed, but in fact compatible might postulate a new body. A “genuine” Israeli enemy, then dance contributed to this mission and parallel in their concerted efforts. They dancing body shouldn’t be just a “melting pot” of with the universal syntax of modern and classical reveal that the political and ontological issues the identities and signs of its many ethnicities; dance. In that sense, war was the unconscious of encountered by the Zionist movement are in fact moreover, this kind of mixture was dismissed the Israeli dancer, as this struggle for acquiring one and that the game of legitimacy and presence as ontologically and ethnically inferior despite the sensibility of a dancing body was aligned reveals the act of invention that became a fact the official government doctrine of assimilating with the struggle to fulfil the universal call of in the region. Thus, the important questions for Zionism. Nowadays, just like the State of Israel us would be the following: how to understand 3 Israel and the Zionist movement have a rich history of orientalism, as even within the Jewish population there is a major Israeli dance if it transpires from the same ethnic hierarchy between Jews of European and those of non- ☐ Kyr by Ohad Naharin, Batsheva Dance Company, 1991. desire as the combat body? What discourses are European descent. For further information, see Khazzoom 2003. Photograph by Gadi Dagon. A Dancing Body Offers Legitimacy to the State Social Choreography TkH 21 49 continues to invest efforts and funds in bringing the Jews “back home” (the process known as Aliya, which literally means “ascending”), distinguished Israeli dance companies such as Vertigo and Kibbutz are also contributing by offering scholarships to Jewish dancers from all over the world to participate in their educational programmes.4 As we can see, the dancing body delivers a legitimate position to the national body in its struggle for factual existence and moral, social, and historical survival. In local dance history, aesthetics, and discourse, legitimacy was attributed to the dancing body by claiming it to be original. We believe that this mission was in some respects accomplished when Ohad Naharin took over the leadership of the Batsheva Dance Company in 1990. Naharin’s work, international recognition, and artistic development in the company led Israeli dance to success, as proclaimed by the Ministry of Culture. Additionally, the Batsheva Dance Company has proved to be one of the most lucrative cultural organisations in Israel. Despite the State’s ridiculously low budget for in a total act of the creation – fabrication ☐ Tabula Rasa, Batsheva Dance Company, 1993/1994. the arts (about 0.2% of the total budget) and and purification – of a new dancing body, Photograph by Gadi Dagon. especially the absurdly small percentage that uniquely identifiable as “Israeli” both inside criticise the Israeli occupation in an interview dance receives out of that modest sum – Naharin Israel and abroad, and singularly branded as for a Canadian newspaper.6 In a broader has revived the interest in dance in Israel, which “made in Israel”. A systematic genealogy of sociological perspective, one should mention has experienced an unprecedented increase in this procedure would exceed the scope of this that Naharin is a Sabra, born in the 1950s, and its audience reach. Financially, Batsheva is the text. Instead, we shall give an indication of it belongs to a generation that was brought up most successful company in Israel, as it attracts and then focus on Naharin’s more recent work, to actualise their immigrant parents’ dream. In the greatest number of viewers and receives high as it reveals the brand’s trademark features. fact, Naharin and his peers were the bodies that revenues from ticket sales, as well as private When Naharin joined the Batsheva Dance Zionism aspired to produce. Himself, Naharin is a donations, state support for performances in Company, it was already the most prominent success story: a young, handsome, heterosexual Israel and abroad, etc.5 Moreover, it seems that actor in the Israeli dance field. At the time, soldier turned dancer, in other words, a subject the winning ethos of dance in Israel appeared Batsheva was a repertoire company and had no who has attained the ideal of both combat and fully only in Naharin’s project. The idea was key choreographic figures directing it. Moreover, dancing in one and the same body. But in fact, and still is that the Israeli dancing body is an this was in line with the conception of its British his generation was also the first to criticise the entity that transcends both the present and founder, Baroness Batsheva de Rothschild, for Israeli regime, especially after the 1973 war and the past; in other words, a universal body whom “the idea was to start with dancers, not the rising awareness of the Israeli occupation that isn’t contingent on the local historical with choreographers” (Gluck 2006). As mentioned that had begun in 1967. Naharin’s generation also situation of Israel, but instead channels the earlier, the mission was to find and brand the initiated various Zionist leftist movements, such facticity of being a body prior to anything else. new Israeli dancer, in order to posit and show as Peace Now, which combine the general belief In other words, dance served as a tool for the world the capability and presence of the new in the right of Israel to exist with self-criticism instilling originality into the national body. And Israeli body. But Naharin was first and foremost and an aspiration to lead the region towards indeed, Israeli dance history shows us that a a choreographer, thus his contribution to Israeli stability and peace. Nonetheless, a number of recurrent notion was its quest for the original dance history took the “tradition of dancers” scholars have shown that this traumatic and “Israeli dancer” and not just any dancer in a step further, despite being a direct result of personal experience of war has been mostly Israel. The mission was to prove the ontological it. Naharin became a reference point for a kind normalised by those very same subjects, who legitimacy of the attribute of “Israeli” by means of completion, national and artistic success are subordinate agents of society (e.g. Lomsky of a specific way of understanding movement, of Israeli dance, as he found a way to instil the & Feder 2004), which means that the ideological which the practice of dance offered. As such, the desired originality into the dancing body, yet he necessities of the state persist and usually get dancing body systematically erased the hybrid did so by tapping into the universal values of the upper hand. Naharin’s choreographic act mixture of identities, signs, and conditions Western theatre dance, used as a line of flight is deeply rooted in his “generational story”, as that it had to endure. It was finally completed from the everyday hardships of living in what very his work has a similar ability to criticise the soon became a “two-faced” regime: democracy endless variations of militant bodies around 4 See: http://www.masaisrael.org/programs/vertigo–dance– and occupation between the Mediterranean Sea him by celebrating the individual body. But at company and http://www.masaisrael.org/programs/dance– journey – accessed in October 2013. and River Jordan (Azoulay and Ophir 2008). the same time, an individual’s critical act still 5 According to the Israeli cultural research institute Pilat. These Paradoxically, Naharin himself is a proclaimed ends up neutralising itself, precisely because reports, commissioned by the Ministry of Culture, contain data critic of the Israeli regime. For example, after for the entire cultural field in Israel. The data regarding dance in 2011 are available at http://www.pilat.co.il/download/tarbut/ winning the Israel Prize, the highest honour 6 http://www.kibush.co.il/show_file.asp?num=3808 – accessed mahol2011.pdf (Hebrew) – accessed in October 2013. bestowed on citizens of Israel, he rushed to in October 2013. 50 TkH 21 Social Choreography Ido Feder i Shir Hacham

☐ Hora, Batsheva Dance Company, 2010. Photograph by Gadi responsibilities, as well as from its present won and that the Israeli body is alive, well, and Dagon. difficulties. In other words, Naharin’s work has in control – a new prominent fact in the region. “war is the unconscious of dance” and the act mastered the obsession with the real and the His criticism and demilitarisation are meaningful ultimately normalises the body, in this case ability of dance to perform it. His work, heavily and revealing of many endeavours to come, but the “original body”, so desired by the state. reliant on his experiences of American modernist they also fully articulate the ability of dance When Naharin joined Batsheva, he was not and European neoclassical dance, such as the to offer its body and nation the legitimacy of content with the “Israeli Dancer” brand, able to work of Martha Graham, Maurice Béjart, and being a fact in the world. Dance offers something perform the best of the Western neoclassical Jiří Kylián, showed that his bodies could easily much more useful than the Zionist melting pot tradition. He wanted to do original work and so traverse and reinterpret this existing knowledge, doctrine, because the dancing body somehow trained the “Israeli Dancer” to be self-reflective but most of all, they simulated the presence of keeps the truth – its being a fact – of the and construct original choreographies and not the origin of this knowledge. That is why at first new body, and therefore ensures that it’s not just perform them, but in order to accomplish the Batsheva Dance Company under Naharin hybridised, but instead instils originality into it. that, he had to strip the dancers’ bodies of their continued to perform its international repertory, Gaga’s website defines it as follows: “The nationalist uniforms. One of his early notable with its dancers known for their “smooth Israeli” language of Gaga originated from the belief works, Kyr (1990), included a section in which a style of performing the technical feats of in the healing, dynamic, ever-changing power big group of dancers were sitting in a semi-circle neoclassicism. Yet Naharin used the language of of movement”.9 It’s professed as a new and and singing the most famous Passover song,7 dance to demonstrate his ability to transcend it contemporary language of movement that, whilst taking their army uniforms off. Naharin and posit the Israeli dancing body as a primordial according to Naharin, should stand on its thus made the unconscious of dance – war – fact, able to shed militarism as it reinterprets own, that is, detached from his authorship, conscious, professing a need to cleanse the body the contemporary language of dance. which is why he named it “Gaga” and not, of militarism. Another famous early piece by These procedures appear in a more methodical for example, “Naharin”. Supposedly, “Gaga” Naharin was Tabula Rasa, described by The New and elaborate way in his later choreographic means nothing, it’s gibberish, yet its euphony York Times as follows: “‘Tabula Rasa’ radiates a works, as well as in Gaga, his dance technique alludes to a newborn baby, who is only able general sense of loss” (Kisselgoff 1987), possibly and language. In our view, his work is an ongoing to say: “ga ga…”, a kind of mumble. Famously, revealing Naharin’s belief in, and desire for, process of desubjectification and de-signification, a decade ago, when Batsheva performed a establishing a body cleansed of all signs. Yet, which culminated in Gaga. Naharin’s set of piece by Mats Ek, Naharin declared that from Naharin’s actions were not as intentional as they movement coordinates serves as a vehicle for then on, the Batsheva dancers would use may seem and the demilitarisation proclaimed positing both the “truth” of dance and the end of Gaga as their everyday practice, to prepare in his work actually seems to be continuing the war, by positing “war” not as an aggressive their bodies for work in lieu of classical ballet the involvement of dance as a discipline in the bodily fight for life and death that requires the training. In a diplomatic concession to Ek, he fabulation of the national body. Tabula Rasa, destruction of the enemy, but as a perpetual allowed his dancers to take one ballet class literally meaning “a blank slate”, is a naming that state of a passionate ethos of movement, a week, but now, Gaga is the company’s only reveals the constitution of the desired dancing directed toward a state of a declared original training practice. Over time, Gaga has grown body, perfecting the ability of dance to erase presence and an endless economy of pleasures. articulate enough to address the general public certain features of the body in order for another, This process can be called a demilitarisation of as well and Gaga classes are now taught on a “truer” and universal body to appear. As a result, the Jewish militant body, because it downplays daily basis to dancers and non-dancers in Tel this constant erasure provides the state with a Israeli militaristic significations (which Naharin Aviv and around the world. The dissemination body that is cleansed from its moral and political perceives as “rough” or “vulgar”),8 but in fact, of this knowledge resembles a franchise, as its a-historicity suggests that the war has been only Naharin may authorise new teachers. 7 The most celebrated religious Jewish holiday, well- incorporated into the mythology of the state, as it commemorates the Exodus, the ancient Jewish people’s transition 8 http://e.walla.co.il/?w=/274/1775822 [Hebrew] – accessed 9 https://www.facebook.com/gagapeoplecom – accessed in from slavery in Egypt to freedom in Canaan. in October 2013. October 2013. A Dancing Body Offers Legitimacy to the State Social Choreography TkH 21 51

A typical Gaga class lasts for an hour, during sequences of movements, climaxes, and original Israeli society has undergone an accelerated which the participants are randomly scattered libidinal impulses. Therefore, the fundamental process of privatisation and individuation, and in space; they never stop moving, performing principle of Gaga is shapelessness. Or maybe neoliberal capitalism was already blossoming in from a wide range of guidelines. Oddly enough, it’s simply not a language, but a dialect or what was once a unified socialist-oriented state. Gaga is based on instructions that invoke images accent of what dance “as such” supposedly is. In this cultural and social climate, Naharin’s work about how to deal with the body’s economy, In general, a Gaga class does not instruct the increasingly turned to the self, slowly closing on investment of energy, simulation of textures body to assume any particular positions, but itself, as it was predicated on a body that simply and states of matter, and not with aesthetic uses metaphors instead, such as “imagine your couldn’t bear its contradictory existence. But shapes or visibility (mirrors, for example, are spine as a snake” or “bathe in honey” (preferred instead of engaging in resistance and criticism, not allowed in Gaga classes or the Batsheva metaphors in many Gaga classes). The image this body preferred to escape and deny its Dance Studios). But, in fact, when we look at guides the body until it reaches a suitable existence. It seems as if Naharin’s project was an average Batsheva Gaga-trained dancer, manifestation of it. Gaga inhabits a region of conceived simply to exit the society that had we can easily identify a specific figure. For heightened frequencies of pleasure and effort: given birth to it, as though it could somehow example, some recognisable features include from the excess of sensual pleasure to the boycott the culture by denouncing it as “vulgar”. the following: the arms are always floating suspension and gentleness of a hand rocking a Under Naharin, the Batsheva Dance Company and never drop; the body is never engaged in a cradle. All is accepted if the instruction “Enjoy!” turned into a small enclave set up to keep the penetrating touch with another body; the floor is is followed. That is why Gaga’s formlessness “roughness” of the outside world at bay, whereas hardly ever accessed. The reason for this generic creates a type of expression that can carry it ended up keeping at bay the roughness of its resemblance is the most important ontological contradictions by delimiting them, as the body suffering bodies, dreams, hopes, and thoughts trait of Gaga – its constant invitation to engage is by no means obliged to make any sense of change and resistance, and appropriated in a potential state of self-sensing. Thus, Gaga whatsoever, but simply celebrates the alleged individualistic, and New Age discourses that leaves you pondering whether its purported primacy of sensation. As such, it pretends to be suppressed those bodies even further. discovery of the original dancing body is just yet indifferent to any signs that it may wear, or, to There is another site of embodied activity another romanticising claim of Western dance. put it in even stronger terms, signs are perceived where the maximum presence of the body Naharin himself offered a hint at a press as stains that blur the visibility of the body and remains close to the sensibility of pleasure, conference before the première of one of his render it opaque. Gaga’s constant disavowal of and that is sex. Therefore, it is no surprise recent pieces, which he named Hora (2009) any kind of signification, which was initially set that Naharin asks his dancers to connect to after the eponymous Israeli national folk dance. in motion to fight what Naharin calls “vulgarity”, their sexual energy, to “activate” that source Naharin said: “Hora unfolds several points of makes sure there are no signs at all, especially when dancing. Extracting movement from such reference… the rhythm and inner logic of the not military signs or any other questionable moral boundless and instinctive forces allows him piece invite us to view them as a sequence of or personal signs that would attest to a failure or to create a kind of dancing that is free from climaxes without low points between them”.10 error in the body machine’s investment of energy. the limitations of external time and place, Obviously, there is no such thing as “a sequence That is why Gaga embraces a New Age just as it is free from gender specificities and of climaxes without low points between philosophy of life, a kind of illogical naturalism political dogmas, bound only to the “fact of them”, since there cannot be climaxes without advertised around the world as selling a more life” and authority of the libido, which allows low points in between and vice versa. Hence “fun” morning class to professional dance procreation and pleasure to reside in a single Naharin’s statement indicates the illusion companies, or as a way for more and more people gesture. This is a dance that is not inhabited that the body he is manufacturing is meant to gain access to the potential of “winning” life by by “one thought”, because it seeks to harvest to create and that this illusion is in fact the enjoying the moving body, rather than engaging the potential of every thought, every time, and Israeli national folk dance. It demonstrates the it in critical thinking. In our view, this “Israeli every place, as they appear by the mere fact denial of any kind of “low” points, including the way to move” brand is another sublimation of having a sensual yet generic sexual body. economies of inflicting pain, displeasure, and the of the unconscious of war, as it engages in an Finally, Gaga has created a body that carries disfiguring of the body, and it is only interested unconscious denial of war, instead of deliberating a somewhat sterile universality, since it shows in proclaiming the euphoria of its own success. or dancing the legitimacy of war or lack thereof. no affinity for, or commitment to, any particular, Moreover, Naharin’s statement is a perfect And yet, Naharin wasn’t the only one: the 2000s, historical, or actual events. In short, it strives description of the Gaga language and what it when Naharin started using the term “Gaga”, to capture “eventality”, being-in-event, which offers its practitioners: “a sequence of climaxes saw the beginning of the collapse of the Zionist has no reference and even renounces any without low points between them”. In a Gaga Left’s ideological meta-structure, in which it had need for reference.11 Trying to force any sort of class, participants are not instructed to make subsisted for almost 40 years, following a wave thinking on Gaga or provide an explanation for any shapes with their bodies, nor is there a of hopelessness that struck the nation after the its appearance would be considered foolish, declared hierarchy of privileging one movement assassination of prime minister Yitzhak Rabin naïve, or heretical. This innate liquefaction of over another. Yet, watching or participating in and the supposed failure of the Oslo Accords. sense and refusal of historicity are Gaga’s most a Gaga class, one easily recognises the way Its set of basic principles (the belief in the right important characteristics, as they inform its one uses a fourth position, how one attempts of the Jewish state to exist but also in its ability subversion of dance tradition, tapping into the an arabesque, and that when the teacher says to criticise itself) couldn’t stand its spectacular facticity of the body. That’s why Gaga heralds a “Lana”, it means “centre” (as part of Naharin’s failure in the outbreak of the Second Palestinian kind of capitalist New Age, but in a very literal wholesale attempt to re-coin popular dance Intifada (the Palestinian term for “resistance” phrases). Gaga claims to consist not of a system or “uprising”), which saw unprecedented levels 11 We are thinking here with Alain Badiou’s concept of event – a of positions, like ballet, but of non-hierarchical of violence on both sides. In those days, the historical sequence that states a universal truth and redefines the phrase “no partner for negotiations” was coined structure of being qua being. See Badiou 2005. Contrary to this conception, we see Gaga not as an event, but only as “evental”, 10 http://www.mouse.co.il/CM.articles_item,698,209,34860,. to describe Yasser Arafat and the Palestinian because it’s only a simulation of being in a constant “event”; as aspx [Hebrew] – accessed in October 2013. Authority. Besides, since the early 1990s, the such, it doesn’t allow a real event to appear. 52 TkH 21 Social Choreography Ido Feder i Shir Hacham sense: an ever “new” age of a body that denies it. This version of the body can then easily be neither the past nor the future, but is simply not submitted to different kinds of rhetoric and determined or limited by them and takes part propaganda, endless cultural hermeneutics, in a kind of eternal present, in a presencing. and finally to the branding of “Israeli Dance”. Nevertheless, lately, Naharin has immersed Nonetheless, Naharin’s invention, this himself in more concrete “New Age” references, alleged regime of self-sensation, still has an calling Gaga’s basic set of values “a universal ethical impulse beating in it: it aims for a state ethics” – clean, “Green energy”, availability. Those of pure potentiality to be whatever (“you are values are a product of his wish to detach himself a tiger”), which Naharin perceives as a total from 20th-century languages of movement emancipation from the law of discipline and and, in a way, to “resolve” their problems. technique of dance, and ultimately identifies Shapelessness within shapes is supposed to moving with living. That’s why Gaga is a counter the ruthless discipline of bodies “in specimen of vitalist ethics and a way of life, shape”. Imagination (“imagine your spine as a but one that has lost its historical coordinates snake”) is supposed to fight the mechanistic and is deeply uninterested in its outside. outlook of dance technique, and so on. And Therefore, Gaga is still closely tied to the yet, Gaga only appears in the thin context of its conception of the Israeli body as morally justified self-sensing, which aims to be a platform for and free and in that sense it’s like an ex-territorial the origin of all reflexivity, but is in fact locked utopia that has lost its need to make sense and in a pre-reflexive mode of being. Maybe it is no touch history, similarly to the post-Zionist Left accident that as soon as Naharin completed his today that resonates with the crisis of the Left formulation of Gaga, the company almost stopped everywhere. This “baby” body that Gaga nourishes performing pieces by other choreographers remains in the good service of all the earthly and focused almost exclusively on works by forces around it, which appropriate it so they can Naharin and his protégée, Sharon Eyal.12 unburden themselves from critical thought and In other words, the Gaga body denies the ultimately declare Israel an “empire of dance”. recognition of others, as it offers an individuating However, we see Gaga as a (golden) cage of event before encountering any other events. original facticity, which has allowed it the false As such, the Gaga body is a signature of being luxury of announcing itself as a universal truth. a fact, an original piece of knowledge made Gaga’s escapist route confirms that war is the in Israel, but at the same time, it is a fact unconscious of Israeli dance, as Gaga complies that closes upon itself. We are not saying with and reaffirms the state politics of Israel. ■ that Naharin doesn’t touch on social reality in his work, but that the vanity of his bodies, the concept of Gaga, becomes a fertile soil Works Cited: for delineating sense and erasing others, Azoulay, Ariella and Ophir, Adi. The One-state Condition: Occupation and Democracy in Israel/Palestine, Stanford: Stanford which is so desired by the Israeli state. In the University Press, 2012 contrasted political situation of Israel, and with Badiou, Alain. Being and Event, London: Continuum, 2005 a great will not only to criticise the politics of Gluck, Rina. The Batsheva Dance Company, 1964–1980: A Personal Story, Tel Aviv: Carmel, 2006 [Hebrew] the state, but also to dance his way through Gross, Yaacov (dir.). Legend in the Dunes, film, Jerusalem: The a demilitarisation and exhibition of liberated Spielberg Archive, 2009 bodies, Naharin has embarked on a journey of harshav, Benjamin. Language in Time of Revolution, Berkeley constant and unparalleled transcendence: first, – Los Angeles: University of California Press, 1993 Khazzoom, Aziza. “The Great Chain of Orientalism: Jewish out of the crude physical existence of the Jewish Identity, Stigma Management, and Ethnic Exclusion in Israel”. militant body and then, from the historical American Sociological Review 68/4, 2003, pp. 481–510 contingency of any particular performance. Kisselgoff, Anna. “Dance: Ohad Naharin and Company”. The New York Times, 11 January 1987, http://www.nytimes. Still, at the end of the day, this machine com/1987/01/11/arts/dance-ohad-naharin-and-company.html is burdened with the closure of its own self- (24 October 2013) referentiality. In other words, its endless self- Lomsky-Feder, Edna. “Life Stories, War and Veterans: On the Social Distribution of Memories”. Ethos 32/1, 2004, pp. 1–28 affecting presence affirms the body as a fact and Oz, Almog. The Sabra: The Creation of the New Jew, Berkeley: not as a being-in-the-world; as the substructure University of California Press, 2000 that sustains autonomy, but not as a ruptured Segal, Rafi andWeizman, Eyal (eds.). A Civilian Occupation: The Politics of Israeli Architecture, London: Verso, 2003 self. His inability to bear a problematic reality led Naharin to engender a body prone to celebrate its own victory of silence, as he designs a pleasurable dance that denies the world around

12 Sharon Eyal was Naharin’s “muse” for many years, as she danced in the company from the beginning. Later on, she was made the company’s resident choreographer. Recently, she has won international success and famously left the Batsheva Dance Company and established her own, L-E-V. However, she still associates herself with Gaga practice, e.g. http://www.youtube. com/watch?v=2rsebh20mdk – accessed in October 2013. Choreography As An Analytical Tool... Social Choreography TkH 21 53 Choreography As An Analytical Tool For Interpreting Society In The Context Of Theatre

Igor KORUGA ● ● Perhaps the most of organisation, roles in communication, and political, and artistic interpreting and intervening current – though not that fresh – concern in how we perform those structures, principles, into the principles of social communication, contemporary dance is the notion of expanded/ and roles in our everyday lives? If choreography agency, values, and beliefs, in the interaction extended choreography. There are already many is reinventing itself by exceeding its artistic of humans in the public sphere of today’s proposals regarding this issue.1 In an increasing performativity and merging into the realm of (neoliberal and capitalist) society. number of fields the word “choreography” now social performativity (as in the case of social serves as a technical term (e.g. in biology, choreography, for instance), what does that COMMUnICATIOn in the Performing diplomacy, politics, sociology, anthropology, etc.). expose or articulate about us – the actors and Arts ● The communication between the What all of those approaches share is viewing vehicles of those performances? And how does it audience and the artist in the performing arts choreography through other ways of organising enable us to transform or intervene in the public has been a key and unavoidable subject in many time and space, thinking various practices, sphere? To consider such a view of choreography, artistic concepts, especially since the 1960s frames, and concepts through choreography, in this paper I will focus on communication in and the avant-gardes and neo-avant-gardes.2 and perceiving choreography as a generic cluster the author-artwork-spectator aggregate in of tools to be used in analysis. Moreover, they the apparatus of theatre. I regard theatre as a 2 This was due to the emergence of various critical post- structural theorisations that, according to Ana Vujanović, ask: “What can choreography do?”, but without public space – a frame for realising activities challenged structuring the process of communicating with the thereby alleviating the urgency of another of citizenship related to concerns in the public audience in performance according to the conventional scheme question: “what is choreography?”. Therefore, one domain (e.g. public speaking, labour, politics, of communication: sender – message (containing information) conveyed through channels of communication – receiver, or, in might ask: what about choreography and society? social collaboration and cooperation, social performance: author – message conveyed through a dramatic How to use choreography to analyse performance communication, etc.). In that framework, my wish play / performance – audience (Vujanović 2010, 2). Vujanović in society today – in its structures, principles is to discuss a view of choreography as a practice explains this transformation as follows. In brief, the concept of that might expand the sections of performance communication as straightforward exchange (including works 1 These range from the idea of disconnecting choreography by artists from the historical avant-garde: Antonin Artaud, the from dance (Mårten Spångberg), via the thesis concerning and spectatorship that are currently articulated Futurists, Dadaists, etc., and from the 1960s neo-avant-garde: the exhaustion of dance’s relation to movement and focusing and recognisable in the apparatus of theatre Fluxus, the Situationists, Living Theater, Augusto Boal, Yoko instead on uninterrupted kinetic flow as the essence of dance into social regimes of performativity. Such an Ono, Peter Handke, etc.), in relation to Umberto Eco’s concept of (André Lepecki), to the view that the shift from embodiment to the open work, transformed the representational structure of proceduralism is happening due to a rupture in the bind between expansion would constitute choreography as performance into a participatory and provocative here-and-now the body and movement (Bojana Cvejić). an analytical tool for socio-anthropological, event with an audience demanding answers. Then, the concept 54 TkH 21 Social Choreography Igor Koruga

As noted by Ana Vujanović, new tendencies in contemporaneity. The principle behind Vujanović’s define to what the notion of “procedure” in the performing arts pointed out those earlier claim could also be linked to Agamben’s vision forming a communicational community refers. participatory and interactive forms of theatre of communicability, which communicates and performance, which were based on the nothing but the capacity of language to Communication and “Community” insistence on communication, grounded in two communicate. It does it only by means of its in Performance ● When considering assumptions.3 The first assumption relates to praxis or acting, its contingency, context, communication between artists and spectators, the idea of activating the spectator through operativity, and intelligibility. And yet, language it might be necessary to indicate that the various forms of interaction and participation in can’t communicate its communicability, but only conventional concept of “community” – a performance that might communicate a certain demonstrate it by acting as a communicable structured or hierarchically organised unity/ message or content. Such an assumption, medium or process (Agamben 1993). society gathered around common values, ideas, as Vujanović explains, is hard to realise due There are concrete examples from the concerns, etc. – is too narrow, because it rests to the gap that separates a performance performing arts that manifest the above- on power relations, the inequality of social from its audience, defining the latter as described thesis concerning communication, in roles and positions, and status divisions. What contemporary dance and choreography, including seems to be arising in today’s participatory a relatively abstract anonymous mass that is works by artists like Xavier Le Roy (Project, and interactive performing arts practices is supposed to act from a common communicational low pieces, “Retrospective”), Eszter Salamon a redefinition of “community”. For now, I will ground, and numerous particular spaces of spectators (Giszelle, Nvsbl), Christine De Smedt (9x9),5 Tino only mention a few examples, again from that would be finite if only the author would be Sehgal (This Variation), etc. Though different in contemporary choreography: On Trial Together familiar with all of them and their actual structure, form, content, as well as institutional context (Saša Asentić & Ana Vujanović), The Entropic which is virtually impossible. (Vujanović 2010, 3). of representation (theatre vs. museum), all of Institute (Deufert & Plischke), By Invitation Only these works have a choreographic outlook on (Christina Ciupke & Igor Dobričić), 9x9 (Christine The second assumption relates to tendencies new visions of spectatorship. Stemming from De Smedt & nine other choreographers), EIO & to “activate” the spectator and make her the tradition of “thought practices”, which EIOnometry (Dragana Bulut, Eduard Gabia, and “aware” of her role in theatre. As it turns out, emerged in the 1990s, such choreographic Maria Baroncea), etc. The common ground of the spectator is thereby treated as a passive ideas self-referentially problematise dance/ these various projects is their re-configuration of element in communication, thus reproducing choreography,6 opening the artwork to a plurality the “community” of the artist and spectator by social inequality (separating those in the know of propositions, rather than tying it only to those means of choreographic ideas based on different from the rest, separating the active from the of a single autonomous subject/author. More concepts of community, including unstructured, passive, etc.) and also increasing the pressure importantly, these practices ask who are the hybrid, emerging, and proto-communities. on the spectator.4 Though no procedure could spectators with whom artists communicate in All of those concepts, borrowed from social close the gap between the audience and the performance, implying that the artist’s concern anthropology, philosophy, and performance performance in their communication context, in art should be to form, in Vujanović’s words, studies, are behind the term communitas – the Vujanović argues that contemporary performing a “communicational community” with the Latin root of “community”. It remains a rather arts practices have demonstrated that it can spectator for the duration of the performance, controversial theoretical concept, defined by be mediated – by shifting the communication as a “viable basis for communication, which parameters of social interaction that are based scheme in performance “from communicating isn’t something that already pre-exist [sic]” either on sameness/commonness or alterity.7 something to the audience (a message, content) (Vujanović 2010, 4). In other words, the audience It is exactly this contradiction that allows us to towards communicating with [the] audience, that comes to the theatre is not a pre-existent use this concept as a methodological term for trying to produce the meaning in this process, community, but a group of individuals briefly examining, as well as resisting or suspending, rather than conveying it” (Vujanović 2010). More coming together from their own private lives. the familiar and recognisable social forms and straightforwardly, if also ironically, Vujanović To form a “communicational community” orders of being together in a collective situation. effectively suggests that what is communicated in a performance requires focusing the Stimulating hybrid forms of “communicational in contemporary performance is neither communication between the artist, performance, community” is a sociopolitical and performative meaning nor any other value, but communication and the audience on tasks, forms, and issues itself, in other words, the desire to keep that might concern the audience and thus 7 With regard to theoretical approaches related to British cultural anthropology of the latter half of the 20th century (more communicating, which becomes a sort of code of persuade them to become a part of such a accurately, interpretative and symbolic anthropology), a specific temporary community. In that sense, I would author who should be mentioned in relation to communitas is of non-communication was articulated in postmodernism Victor Turner. In his exploration of rituals, crises, conflicts, and (between the 1970s and the 1990s, in works by Robert Wilson, like to reconsider two notions regarding the their relevance in the constitution of social structures among Jan Fabre, Richard Foreman, Peter Greenaway, and Anne Teresa concept of “communicational community” as it African communities, Turner used the term communitas for de Keersmaeker), through various performance practices that relates to artists and spectators in performance. an unstructured/becoming community, emerging during the offered new perspectives of open meaning, putting not a master- My first notion would be to detach the term transitional period of the reorganisation or collapse of an existing mind behind the performance, but “an author indifferent towards social order. In Turner’s view, a communitas appears at moments communication: the performance is open to a multitude of free “community” from its general and conventional of restructuring the familiar social structure of a community, and arbitrary ‘readings’ on the part of the audience” (Cvejić & understanding and the second would be to through collective public bodily activities and movements, not Vujanović 2006, 9). only in rhetoric. These bodily movements in such a becoming 3 These new tendencies relate to the institutional re-focusing 5 This project was initiated by Christine De Smedt and involved community are based on the principles of togetherness, of communication in the 1990s and 2000s, in works related nine other contemporary dance choreographers, including, commonness, and equality among its participants/people (see to different forms in the performing arts, by authors such as, among others, Mårten Spångberg, Mette Edvardsen, and Tino Turner 1969 and 1982). By contrast, philosopher Roberto Esposito in contemporary choreography: Jérôme Bel, Xavier Le Roy, Sehgal. interprets communitas on completely opposite principles, Boris Charmatz, Plischke and Deufert, Alice Chauchat, Mette 6 By examining and critiquing the theatre apparatus itself, the arguing that our communities are founded on our constitutive Ingvartsen, Ivo Dimčev, etc.; in documentary and readymade role of the spectator, the principles of authorship and modes alterities with respect to ourselves, a debt and obligation, theatre: Christoph Schlingensief, Rabih Mroué, Rimini Protokoll, of production in dance and choreography, the relation between not commonness. For Esposito, community is not a collective etc.; and in community-based actions: Shannon Flattery, Thomas the art market and the economy of exchange, the principles bond that comes at a certain point to connect individuals. On Hirschhorn, the Krétakör troup, etc. behind the production and distribution of knowledge in dance, the contrary, it is an “exposure to what interrupts the closing 4 This became the basis for Jacques Rancière’s alternative collaboration and networking among artists as individual authors and turns it inside out: a dizziness, a syncope, a spasm in the political principle of the emancipated spectator (Rancière 2009). and artists affiliated with institutions, etc. continuity of the subject” (Esposito 2010, 7). Choreography As An Analytical Tool... Social Choreography TkH 21 55 intervention, analysis, transformation, calcified into normative choreographic “know- choreograph subjection, mobilization, subjugation uncertainty, and potential threat to the normative how” solutions that stopped questioning the and arrest” (Lepecki 2012, 21)? These principles social relations and orders, marked by the function and purpose of choreography itself (see aren’t easy to articulate or comprehend in human antagonistic mechanisms of our contemporary Cvejić 2013).10 Reproducing procedures remains interaction today and its performativity in the capitalist communicational society. Such a form problematic only if operating continuously public sphere (and space). While alternatively of community antagonises the sovereignty of without analysing or re-examining from composing the public sphere and remaining the familiar social order by publicly performing time to time its purposes, functionality, and ideological, the “aesthetic form in which these unfamiliar, spontaneous, and invisible underlying doctrines. Since procedures define principles should be expressed is undetermined alternatives or sets of parameters/principles of how processes, actions, concepts, and attitudes and requires inefficiently long ideological living and being together in human interaction. make sense to us, how we experience them, debates in the collective imagination to turn into In the context of theatre and the performing how they organise systems of functioning, concrete political demands” (Cvejić 2013, 75). arts, stimulating hybrid communities opens a maintain patterns of thinking, agency, and playground for defining and developing principles communicating, the bond between procedurality ChOREOGRAPhY as a Tool for of communicational negotiation/mediation in and choreography, as Cvejić indicates, could be Interpreting and Breaking Social the (un)equal, contrapuntal communication considered for another purpose. Choreography norms ● Using choreography to interpret between the territories of the spectator, artist, should therefore focus on examining the society implies viewing choreography as a sort and the artwork – as they are established in principles of its procedural operation, rather than of blueprint of society that may be analysed. the performing arts practices related to the readymade procedural solutions it proposes. That would link choreography to the concept theatrical apparatus, e.g. contemporary dance Examining and articulating the principles of of performance as a model for interpreting the and choreography. Moreover, such a negotiation choreography could spawn new, transformative, social in the public and private sphere alike.12 shifts those territories, aiming to challenge and intervening, and hybrid dimensions, entities, Seen in those terms, choreography is used as a intervene in the conventional modes of artistic models, which might expose, subvert, and social phenomenon for analysing performance production and consumption under capitalism.8 transform perpetuated and procedural elements in contemporary society – in social structures, that have become servile or normative – residues orders, communication, and roles in our Procedurality and of past intellectualisations and practices everyday lives. But from another point of view, Choreography ● Another notion that informed beliefs in education, the art I’m wondering if adapting this choreographic to reconsider in the construction of a market, and society about what is “normal” in approach in artistic sense and henceforth “communicational community” in theatre is the choreography (see Cvejić & Vujanović 2012, 75). applying it in the apparatus of theatre might set procedurality behind such a constitution. In that Keeping in mind that artistic methodology choreography to work as an analytical tool in regard, I would start by viewing choreography doesn’t necessarily constitute spectatorship interpreting society as well? In other words, if through contemporary approaches to it, from in theatre, I still find certain aspects of Cvejić’s a choreographer/author is artistically inspired the 1990s on. As I mentioned above, this thesis fruitful, considering the stimulation of to examine the ideologically choreographed paradigmatic turn in the art of dance and a “communicational community” between the performativity of society in the contexts of choreography introduced proceduralisation audience and the artist. Regarding the bond spectatorship and the theatre apparatus, then s/ as a self-referential methodological tool for between proceduralism and choreography, he could come up with a choreographic proposal, conceptualising dance. Besides claiming for I’m intrigued about concrete ways of using communicate it with the audience (thus creating choreography a specific educational complexity choreography in the apparatus of theatre to a communicational community), and use it as and concrete political and public relevance, communicate with the spectator about exposing, an analytical tool to interpret and critique the more importantly, it dissociated choreography disrupting, and transforming the normative social, and possibly intervene with it in public. from the closed concept of composition.9 Still, procedures of our social (co-)existence, agency, That approach may be illustrated with more recent theoretical approaches – such and communication, so easy to agree upon the following example from contemporary as that of Bojana Cvejić – examine whether and operate through in today’s neo-liberal choreographic practice. In the early 2000s, our conceptual and functional concern with and capitalist society.11 In other words, how to choreographer Christine De Smedt initiated 9x9, procedures in choreography over the past years communicate through choreography a political, a project aimed to reflect on the relationship (theoretical, in dance education, and applied socio-anthropological, and artistic examination of between individuality and community and through dramaturgy in dance practice) has principles identifying, for example, “what forces the notion of art as a mass event. Working and apparatuses, non-metaphorically and daily, with “amateurs” or just ordinary citizens of 8 To put it simply: the artist is conceived less as an individual producer of discrete objects than as a collaborator and producer the various cities that hosted her, De Smedt of situations; the work of art as a finite, portable, commodifiable 10 This should be borne in mind especially in light of the explored how people act in groups, how they product is reconceived as an ongoing or long- term project with incessant reproduction of manuals, toolboxes, scores, methods, form temporary groups despite their divergent an unclear beginning and end; while the audience, previously protocols, manifestoes, interviews, self-interviews, and books on conceived as a “viewer” or “beholder”, is now repositioned as a creativity in contemporary choreography (see Cvejić 2013). See 12 Borrowed from sociology, anthropology, and performance co-producer or participant. (Bishop 2012, 2). comment above. studies, concepts pertaining to such a model show that by 9 According to Bojana Cvejić, choreography has been historically 11 Keeping in mind, though, that even such self-referential and framing the public as theatre/performance (in concrete historical identified with composition or the inscription of a formal order critical re-examining has become politically ineffective or, in instances, ranging from Ancient Greece, via the bourgeois era, to in space and time through the movement of bodies. As Cvejić Žižekian terms, “pseudo-active”, due to its close connection to neo-liberal society), we acknowledge that the moment we step notes, “the inscription of movement in space and time is a contemporary models of production in the post-industrialised into the public, we’re performing for and before others. Here are rather vague, empty signifier, but that is exactly how regulative era, where “art participates within a network of pre-established some examples: performance theory (John McKenzie), social concepts function: they fulfil their normative functions precisely models of criticality and reflexivity, as a sort of ‘politicisation with drama (Victor Turner), social choreography (Andrew Hewitt), because their contents are so elusive.” Thus, “such a closed reason’ or a choice between ready-made discourse possibilities” man as actor (Richard Sennett), technologies of the self (Michel concept of choreography rests on and reduces choreography (Kunst 2011, 128). As Bojana Kunst asserts, due to an art market Foucault), habitus (Pierre Bourdieu), the concept of social roles to an agreement (whatever your composition is, it necessarily that continuously mirrors the flexibility of neoliberal capitalist and performance of the self (Erving Goffman), the distinction has to pertain to bodily movement and parameters of space and politics by offering various political choices and where spectator between doing and performing (Richard Schechner), performing time),” and a hierarchical apparatus of production (choreographer communities are formed by moral categories rather than political identity (Judith Butler), the concept of embodiment (Thomas transferring knowledge to dancers by show-copy model or subjectivisation, even radically critical practices seem less Csordas), speech acts (John Austin), etc. (See Cvejić & Vujanović material molding). (Cvejić 2006) effective and require stronger re-consideration. 2012). 56 TkH 21 Social Choreography Igor Koruga interests, and how those groups then fall apart “communicational community”, whereby the project and performance called Temporaries.14 again. A choreographic structure performed in artist and spectator might intervene together This participatory/collaborative performance Nantes (France), as one of the performances in into the social context, affecting its value system, is organised as a social event – a picnic with the project, was devised by means of various ideology, and other dominant systems. Using artistic entertainment – in which the artists (as social games based on mathematical principles choreography in that way still confronts the moderators) along with the spectators confront (e.g. permutations) in order to create organised popular theoretical belief that art should extract and intervene in social and art issues and chaos. This organised chaos was intertwined itself from the “useless” domain of the aesthetic principles of social organisation, focusing on the with various social situations (marked by certain and associate only with social practice and social work conditions on the local and international sub-social choreographies) appropriated into change. As noted by Claire Bishop, such thinking independent performing arts scenes (such as the performance – a nightclub, a rock concert, a conceptualises participatory/collaborative temporality, solidarity, precarity, competition, public speech, and dance/movement scores. The art only through the neo-liberal principles of emergence/emerging artists, collectivism, self- fragmentary structure of the work, performed by identity politics, favouring “one side” – that of the realisation, readiness, politicality, diversity, etc.). a mix of professionals and amateurs scattered spectator – and therefore affirming values like The project strives to analyse and examine these across the space, without clear boundaries respect for “the other”, fundamental liberties, issues on a micro-level, in specific contexts in separating the performers from the audience, political correctness, etc. Consequently, it which it is performed. The event itself is based exposed and examined certain aspects of socially neglects and ignores the fact that the “aesthetic” on deconstructing a picnic, turning it from a choreographed behaviour in public. One was is the ability to think contradiction. Summarising (familiar) comfortable and pleasurable social the audience’s behaviour in the absence of the Rancière’s thesis on rehabilitating the connection event into a long performance with a complex “familiar” procedures of “conventional” theatre between the aesthetic and politics, Bishop set of rules, which become harder and harder performance. The audience withdrew, i.e. reacted argues that the aesthetic carries “the productive to grasp and navigate. The choreographic with fear and embarrassment to several everyday contradiction of art’s relationship to social structure or basis of communicating with the social situations transparently exposed in theatre change, characterized precisely by that tension audience in this project rests on switching (out of fear of performing, of not knowing, of between faith in art’s autonomy and belief in between the representative/aesthetic and social failing to “understand” a contemporary work of art as inextricably bound to the promise of a mode of performing. The switching involves art, etc.). Such reactions demonstrate the need to better world to come”. (Bishop 2006, 183) miniatures of representative dance/art (which use choreography to probe the public behaviour Such social change in art relies less on social constitute the event’s artistic side) and social of audiences, in this case their willingness to activism than on the “politicality” of the artwork, games that examine various principles of social decide whether to follow the rules or use their which, according to Ana Vujanović, addresses organisation and collective/individual relations presence and participation to transform a pre- that further guide the trajectory of the event. existing (choreographic) proposal in performance. the ways it acts and intervenes in public space, The procedure rests on stimulating a collective Or, in concrete terms, whether the spectator in regard to discussions and conflicts around exercise in encountering, interpreting, and should follow the rules and dance as though the subjects and objects that perform on it, the discussing mechanisms and principles of social at a nightclub, for instance, or respond to a arrangement of positions and powers among them, organisation, social interaction in relation to art political speech. Finally, another aspect of social the distribution of the “sensible”, and the ideological production, knowledge exchange, marketing, behaviour was examined by organising a mass discourses that shape a common, symbolic and the artist’s subjectivity in society, etc. In that of people in space by using bodies (those of sensorial order of society, which shape [the] sense, presenting the Temporaries project in the performers), which showed how spectators material structure of the society. (Vujanović 2010) different social contexts gave rise to sundry individually act and position themselves in experiences. For instance, in Berlin, the audience relation to such an (un)structured mass situation. Grounds for Establishing mostly followed the rules and structures of This short account of De Smedt’s performance Communicational Communities by the event, thus emphasising to us after the allows us to make two observations. One Means of Choreography ● Considering performance the feeling of safeness in their is that choreography can be used as an how choreography could be used as an analytical roles as spectators. By contrast, in Belgrade (in analytical tool, for an (artistic) interpretation tool for interpreting and breaking the norms 2011) and Kortrijk (Belgium), we had an entirely of the social (behaviour, order, roles, etc.), of our plural co-existence in contemporary different experience – in both cities, the audience by way of its methodology, procedures, and society raises the following question: on what sought to disrupt the proposed structure of structures governing the proposal/framework grounds should such a choreographic framework the performance, insisting that the authors of a performance situation communicated with be based? Especially keeping in mind that it’s change the rules, challenging the hierarchies the audience. The other is that this concrete stimulated in the theatre apparatus, mediating, and power relations between the artists and choreography not only rests on representation negotiating, and even discussing the gap between the spectators, reflecting on the notion of and exposure, but also breaks and examines the established territories of the artist and democratic consensus and how to reach it in choreography as a social phenomenon, the spectator, forming a social plurality that this performance, thinking about alternatives ideologically shaped by our various micro- and “raises the criteria, problematises the dominant in a collective decision-making process, etc.15 sub-societies, and embodied through our values, and creates a social climate that will In that regard, a relevant question arose for us, behaviour in the public sphere.13 This example provide discursive space for a multitude of shows that using choreography as a blueprint often dissonant voices” (Deschooling Classroom 14 The Temporaries include Ana Dubljević, Dušan Broćić, Igor and analytical tool in artistic interpretations 2013, 213). Perhaps two examples from the Koruga, Marko Milić, Jovana Rakić Kiselčić, and Ljiljana Tasić. of society necessarily rests on setting up a performing arts can help us find some answers. www.temporaries.weebly.com 15 In this sense, the event is something of “a product cum In 2011, six artists, including myself, who had research”, since every time it is performed, it’s always affected 13 These observations grow even more compelling if one been working in the field of contemporary dance (differently, of course) by the context. It proposes choreography considers that 9x9 was performed on the international dance and performance on the independent performing as a model for interpreting the socio-cultural norms, values, scene for 5–6 years, with 18 staged versions, artistically and ideologies embodied in everyday agency, opening up space interpreting different social issues and public matters specific to arts scene of Belgrade, initiated an artistic to disrupt them and collectively encounter something hybrid, the contexts in which they were presented. unknown, unfamiliar, etc. Choreography As An Analytical Tool... Social Choreography TkH 21 57 concerning the matter of giving and taking space following procedure was devised: one person *** – mediating, negotiating, as well as disrupting kept reading the names from the list, one by one, Considering choreography as an analytical and discussing at certain times who is entitled to while the others had to decide who would stay tool for interpreting and intervening in the social take/give room for the communication between on the list. “If one wanted to keep a name on the relates to several aspects of extension. Based the artists and spectators in a performance? list, one only had to stand by it, with ones [sic] on the already agreed notion that context is Perhaps this question remains important as a desires, opinions, and intuitions, or otherwise do changeable, not due to any individual, but due principle constituting the temporary plurality nothing. When nobody reacted, the name would to us all (Deschooling Classroom 2013, 213), of a collective exercise of activities related to be crossed out” (Dobričić 2012, 33). After going on a disciplinary level and from one point of concerns in the public domain, within theatre for five rounds, the list got down to five names. view, it rests, among other things, on engaging as a specifically framed public space. Though we kept repeating it over and over, we art with society, community, collaboration, I found myself in a similar situation at the couldn’t reduce the list any further. As we were all interaction, empowerment, agency – concepts 2011 ImPulsTanz Festival, when I took part in getting exhausted after almost eight hours of this that are perhaps traditionally more at home a publication-promotion-performance-event “performance”, we placed the remaining names in social science. These engagements would called Tell Us the Future of the Nomad Dance in an ImpulsTanz bag. The name of the person redefine choreography as a practice of Academy and Receive a Gift of 1,000 Euros.16 The who won the €1,000 was drawn from that bag. articulating/stimulating/exercising specific event featured presentations of publications The normative definition of democratic public vocabularies of social organisation or (co-)issued by the NDA (Alfirević & Tanurovska legitimacy prescribes that whether set on models of democracy in contemporary society, Kjulavkovski 2012), performed in a slightly perfect or imperfect norms and regardless assuming new relevance for choreography with different format – the audience was invited of the quality of the outcome, legitimacy in a regard to contemporary art. But, from another to make proposals regarding the future of the democracy depends only on the procedurality point of view, such an approach shouldn’t treat NDA, with the individual/group that made the of the democratic decision-making process choreography only as a social activity or practice. most inspired proposal receiving a gift of €1,000 (see Cvejić & Vujanović 2012, 72–73). With Choreography should also remain a symbolic (which was the entire budget of the residency, that in mind, I wonder how much the event practice, articulating new ways and structures provided by the Festival). The conditions that that unfolded at Garage X was a legitimate for disrupting existing and proposing other set up this encounter reflected an attempt of decision-making process, since it was even modes of social or human relations, instead the participants gathered around the NDA at broader than the conventions of a democratic of (only) power or relations of consumption, the festival to approach the problem of group consensus would allow. It was an extension especially if considering the apparatus of theatre. identity. The entire performance lasted for achieved by a collective articulation of a The resulting potential would comprise ideas, eight hours at the Garage X theatre in Vienna. principle that constituted, and I would even experiences, and possibilities stemming from The first part featured the presentations of dare to say choreographed, a procedure likewise the human interaction, allied participation, the proposals and the second a public, open performed collectively, slowly approaching its and togetherness resting on principles other collective decision-making process involving outcome (naming the winner by consensus). than commonness and alterity, consensus the participants of the NDA residency, to Unfortunately, the goal itself wasn’t reached, and disagreement, focusing more on the decide which proposal would win the award. due to exhaustion and the inability to proceed meaning of what such interaction produces Once the proposals had been presented, the any further. Still, an interesting reflection and communicates. This is where choreography members of the NDA collectively articulated resulting from this lesson in democracy, remains the mediating object, concept, image, an important principle of decision-making that beside the question of whether democracy or story, as the necessary link between the had started playing out in the conversation: is about giving space to the other or one’s artist and the audience. It enables one to treat responsibility to take space when necessary, theatre as a public space for testing, as a set of I can only make decisions/choices valid for concerns the relation between consensus in relations, a social and communicational entity, myself, but my decisions/choices should never democracy and procedurality in establishing an instrument rather than a medium; a frame for obstruct the ability of others to make their own spectatorship / a communicational community addressing social, political, and anthropological independent decisions/choices – rather, they should in performance. These two problems could be issues and for experimenting with them. empower them to make independent decisions/ further discussed in relation to performance Paraphrasing a famous line by philosopher Denis choices of their own. (Dobričić 2012, 33) in contemporary society in the context of Diderot – “there’s nothing that can happen in theatre. But more intriguingly, perhaps the world that cannot happen in the theatre” With this statement, a selection of names one might consider them with regard to – Goran Sergej Pristaš said at a conference and proposals that the NDA members found the search for ruptures in conventions (in in Barcelona last year that “[t]here’s nothing relevant for the future of the NDA emerged. democracy), which might enable us to intervene that can happen in the theatre that cannot Ten of them were put on paper and then the in the performance of our societies.17 happen in the world, because what happens in the theatre already happens in the world”. This 16 The Nomad Dance Academy was invited to that year’s 17 For example, one of those ruptures could relate to the ImPulsTanz and organised a residency to provide time and space fact that as individuals, we are quite unequal in our mental and reformulation intriguingly takes us to the last for possible events, knowledge exchange, and discussions. physical powers and abilities. So the everlasting questions are: remaining question, left for the end: how open For that purpose, the NDA formed a Nomad Task Group (NTG) how (through what principles) do we bridge that inequality are we to take a look from aside, to see how the comprising a temporarily assembled collective of 14 people who in our co-existence in either familiar or unfamiliar, structured were in different ways related to and connected with the past/ or emerging kinds of communities and communal desicion- “monster” works and “do” something about it? ■ present/future of the Nomad Dance Academy as a mode of making processes? How do we conceive of the political organisation. One third of the participants comprised members representation of different kinds of (dis)abilities and capabilities of the NDA’s Decision Making Body (DMB), one third consisted in life; physical health; bodily integrity; the development of the of former students of the Academy, and the remaining third of senses, imagination, and thought; the development of practical Works Cited: participants not affiliated with the NDA. The participants of the reasoning; the development of affiliations – both informal, in the Agamben, Giorgo. “The Coming Community”, Minneapolis: residency were Dalija Aćin Thelander, Dragana Alfirević, Igor family and in friendship, and formal, in political communities; the University of Minnesota Press, 1993 Dobričić, Aleksandar Georgiev, Emma Kim Hagdahl, Igor Koruga, development of our ability to relate to other creatures, etc. (For alfirević, Dragana and Tanurovska Kjulavkovski, Manuel Pelmus, Ana Schnabl, Dejan Srhoj, Iskra Šukarova, Johan more information, see works by Martha Nussbaum and her theory Biljana (eds.). The Present [Nomad Dance Academy Publication Thelander, Sanja Tropp Frühwald, Angela Vadori, and Rok Vevar. of justice.) 2011/2012], Skopje: Lokomotiva, 2012 58 TkH 21 Social Choreography Igor Koruga

Bishop, Claire. “The Social Turn: Collaboration and Its Discontents”, http://www.artforum.com/inprint/ issue=200602&id=10274, 2006 (24 October 2013) Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship, London – New York: Verso Books, 2012 Cvejić, Bojana. “To end with judgment by way of clarification...”, 2006, http://www.mobileacademy-berlin.com/englisch/2006/ texte/cvejic03.html (4 December 2013) Cvejić, Bojana. “Proceduralism”, in Bojana Cvejić and Goran Sergej Pristaš (eds.), Parallel Slalom: A Lexicon of Non-aligned Poetics, Belgrade: Walking Theory – Zagreb: Centre for Drama Art, 2013, pp. 236–247 Cvejić, Bojana and vujanović, Ana. “The Open Work: Does It Deserve Theory Today?”, TkH: časopis za teorijska istraživanja novog pozorišta i umetnosti performansa 10, 2006, pp. 128–139 Cvejić, Bojana and vujanović, Ana. Public Sphere by Performance, Berlin: b_books – Paris: Les Laboratoires d’Aubervilliers, 2012 Deschooling Classroom (o^o), Terms Study Group. “Eastern European Contextual Art: Approaching, Diagnosing, and Treating the Problems”, in Bojana Cvejić and Goran Sergej Pristaš (eds.), Parallel Slalom: A Lexicon of Non-aligned Poetics, Belgrade: Walking Theory – Zagreb: Centre for Drama Art, 2013, pp. 204–214 Dobričić, Igor. “Recapitulation of NDA Residency at the ImPulsTanz Festival”, in Dragana Alfirević and Biljana Tanurovska Kjulavkovski (eds.), The Present [Nomad Dance Academy Publication 2011/2012], Skopje: Lokomotiva, 2012, pp. 32–35 Esposito, Roberto. Communitas: The Origin and Destiny of Community, Stanford: Stanford University Press, 2010 Kunst, Bojana. “Be Political, or You Won’t Be There! (On Political Art in a Post-political World)”, in Ana Vujanović and Aldo Milohnić (eds.), TkH 19: Politicality of Performance, 2011, pp. 124–130 Lepecki, André. “Introduction: Dance as a Practice of Contemporaneity”, in André Lepecki (ed.), Dance, Cambridge, MA: MIT Press, 2012 Rancière, Jacques. The Emancipated Spectator, London: Verso, 2009 Turner, Victor. From Ritual to Theatre: The Human Seriousness of Play, New York: Performing Arts Journal Publications, 1982 Turner, Victor. The Ritual Process: Structure and Anti- structure, Chicago: Aldine Pub. Co., 1969 vujanović, Ana. “Politics of Dance: Subject, Media and Procedures of Work”, lecture, 2010, http://www.anavujanovic. info/#!/2011/08/lecture-politics-of-dance-subject-media-and- procedures-of-work-giessen-2010-2/ (7 November 2013) vujanović, Ana. Performance and/as (Mis)communicational Community, MA seminar, Madrid: Universidad de Alcalá – Museo Nacional Centro de Arte Reina Sofia, 2010 Double Exposure Social Choreography TkH 21 59 Double Exposure

Goran Sergej PRISTAš ● ● ichnography, as “the ensemble of possible Although it is obvious that the exhibition rests profiles, the sum of horizons. Ichnography is on the scenographic operation of hiding and How many of us are there altogether, finally? And what is possible or knowable, or producible, showing, with performers constantly entering and who is holding forth at the moment? And to whom? it is the phenomenological well-spring, the leaving the space, swapping their positions, and And about what? pit, the black box” (Serres 1995, 19). with the composition of simultaneity and distance Samuel Beckett, The Unnameable My memory of Xavier Le Roy’s “Retrospective” in the performance, the ionographic display of exhibition (2012), that is, the version I saw at the the exhibition, the bird’s-eye-view, shows that its In physical terms, theatre is usually deprived Antoni Tàpies Foundation in Barcelona begins basic operation is not to “exhibit” the performers of a position of observation that has already with the first divisibility, the divisibility of view but to expose a performance. Here, someone become normal in museums and galleries – the into viewing from above and viewing from inside is exposing a performance to someone else, bird’s-eye-view, at any rate, observing from the exhibition space. One enters the exhibition by coming out against a white background, by a position that enables one also to observe by descending a staircase into a large boiler, a protruding toward the viewer, by emerging on an observing itself. In contemporary museum white cylinder similar to the one from Beckett’s abstract white background, up to the divisibility architecture, these are usually bridges, galleries, The Lost Ones. Observing it from above seems of performance into a centrifugal performing and traverses overlooking exhibition areas and equalising, the simultaneity of the performance machine and centripetal performing objects. offering views of the entire space and exhibition. and the act of watching the performers and the The performers’ tangential running in and out In theatre architecture history, the watching of spectators, not too phenomenally differentiated of the exhibition space suggests a performative watching is not new: in renaissance theatres, in that boiler, seemingly suggest nothing and mode of behaviour, but the performed situations the act of the king’s watching, that is, listening appear to be a trace (ichnos) of the performance, themselves, extracted from Xavier Le Roy’s to the performance had to be seen, so the king inviting us to come down. However, the noise of earlier performances, generate no generalising often assumed the central position in the hall. the fragments performed and views crossed soon logic of a unity of the performance, but instead As the spectacle moved from the king to the demands an answer to the following question: function anecdotally, individually, standing not performance, from Wagnerian theatre onwards, What is it? An exhibition or a performance? for a multiplicity, but for the unity of the problem the dimming of the lights in the hall increasingly Even before descending that staircase, it is horizon of every choreographic quotation, all obscured watching, thereby enhancing its obvious that someone down there is performing of them invested, as a whole, into a purpose intensity and focus. In gallery and museum something for someone else. But in this beyond their individualities. Each segment of spaces, the need for observing from above has performance, it is the viewer who is exposed. the operation is a time set and has an operative grown with the spectacularisation of exhibits By means of her viewing the exhibition (or function of its own, or is a consequence of the (the most explicit example is probably Richard viewing inside the exhibition), the viewer does operation itself. These sets are discrete units Serra’s installation The Matter of Time at the not become an exhibit of the exhibition, but is within one and the same operative territory, for Guggenheim Museum Bilbao), that is, observing exposed to the exhibition. This multiplicity or the (daily or total) duration of the exhibition, but from above has become a frequent and explicit second divisibility, the vectorial divisibility of the at the same time, they are also products with tool in thematisations of the gallery medium or viewer, renders viewing itself a situation. The different genealogies, that is, consequences exhibition contexts (a textbook historical example viewer is an observer, but she is also highlighted of structural causations in a problem field would be Kontext Kunst: The Art of the 90s, a by the exhibition, the exhibition is continuously that has different internal spatiotemporal 1993 exhibition curated by Peter Weibel at the radiating at her, and its orientation toward the dynamics and material homogeneity. This kind Neue Galerie im Künstlerhaus Graz, Austria). centre of the space is likewise radial. However, of time rests not on a systemic operation, but In theatre scenography, the spectator sees a third divisibility guarantees the stability of on multiple “unit operations” (Bogost 2006). singular phenomena appearing at singular the viewer-viewed situation – a consequence of Thus, the exhibit of the exhibition is a moments and seen from specific perspectives. the incommensurability between the respective performance, a special machine made of Scenography rests on hiding things in principle positions of the viewers and the performers. a “different metal”, a structure of small, and displaying them at specific times. Even in Even though viewing from above suggests discrete units, none of which are either the black box, which is containment itself, there the possibility of a switch or equalisation, dominant or superfluous. A machine is is always some logic of upfront and background, their respective levels of knowledge of the more complex than a tool or mechanism, of covering, and of differences of perspective. performance are incommensurable and thus an which are always unidirectional. This is a Michel Serres juxtaposes scenography with operation of the divisibility of actors is at work. machine whose parts are oriented toward 60 TkH 21 Social Choreography Goran Sergej Pristaš

their clear determinations, almost exactly explicit existence in the present and emerging Le Roy’s choreography is a high-resolution as Althusser describes an apparatus: by vanishing. Here, however, there is something choreography that operates not in terms of else at stake. That something is a theatre of harmonies or compositions but in terms of a long the dictionary definition also says that, in the interruption, a theatre that will always first clear exposure time of a problem. Just as in Benjamin’s “ensemble of elements”, none is superfluous. On out, create a void and ask not about origins but case the camera makes aware the optical the contrary, all are perfectly well adapted to their force encounters and survey the symptoms, unconscious, so do Le Roy’s choreographies end, in so far as all are parts of the articulated whole insist on that which is a trace, a remnant that extract the choreographic unconscious from designated as the “apparatus” […]. This therefore held on but could have vanished, a remnant other modes of moving and formally organised presupposes a sort of mechanism in which all the that always retains the possibility of turning relations of bodies in space (pertaining to parts, all the wheels and cogs, work together to theatre into a different kind of machine. animals, sports, concerts, etc.), that which the same end, which is obviously external to the While the viewer and her viewing are is repressed in layers of the functionality apparatus; if it were not, the apparatus would invested into the abstract machine of the and purposefulness of bodily practices, but not be “separate”. (Althusser 2006, 82–83) performance, what makes each performative nonetheless organises orders of bodies in space. quotation an anecdotal, temporally condensed In his text on the “Choreographic Unconscious”, The performance is thus an ensemble of manifestation of uniqueness is Le Roy’s Marko Kostanić describes that method as follows: discrete sets that have their own temporal choreographic technology, in the same way that, determinations, but whose mutual encounters, in the case of photography, Benjamin viewed Articulating choreography as a structural moment deflections, and junctures also have temporal technology as a historical variable of magic: of operation in other, non-dance social fields not only determinations of their own (Althusser 2006, casts a different light on those places from which it 167). In operational terms, the possibility that It is indeed a different nature that speaks to the has been extracted, but also establishes a framework this machine be both a performance and an camera from the one which addresses the eye; for different ways of writing the history of dance. It exhibition are only two options of encounters different above all in the sense that instead of a is a double method of cancelling the unconscious in that may or may not occur, whose deflections space worked through by a human consciousness the supposed detachedness of choreography from may or may not generate series of further there appears one which is affected unconsciously. the historical and social reality – but what is brought encounters.1 A whole series of researchers in It is possible, for example, however roughly, into light from that reality are the constitutive traces dance studies have located its ephemerality in to describe the way somebody walks, but it is of choreography, whereas from choreography as an the constitutive essence of performance, its impossible to say anything about that fraction of a autonomized artistic field it is the unconscious social second when a person starts to walk. Photography and rhetorical conditions of the specific legitimization 1 Whence the form of order and the form of beings whose makes aware for the first time the optical of the autonomizing process with respect to the birth is induced by this pile-up, determined as they are by the unconscious, just as psychoanalysis discloses social hyper-codification of ballet and the gestural structure of the encounter; whence, once the encounter has been effected (but not before), the primacy of the structure over the instinctual unconscious. […] Photography ideology of everyday life. (Kostanić 2011, 3) its elements; whence, finally, what one must call an affinity and uncovers in this material physiognomic aspects of a complementarity (complétude) of the elements that come pictorial words which live in the smallest things, Choreography is uncovered, to paraphrase into play in the encounter, their “readiness to collide-interlock” (accrochabilité), in order that this encounter “take hold”, that is to perceptible yet covert enough to find shelter in Benjamin, quoted above, in those material say, “take form”, at last give birth to Forms, and new Forms – just daydreams, but which, once enlarged and capable physiognomic aspects of bodily relations that, as water “takes hold” when ice is there waiting for it, or milk does of formulation, show the difference between once enlarged and enabled to be formulated by when it curdles, or mayonnaise when it emulsifies. Hence the primacy of “nothing” over all “form”, and of aleatory materialism technology and magic to be entirely a matter means of citationality and interruption, produce over all formalism. (Althusser 2006, 191–192) of historical variables. (Benjamin 1980, 203) the impact of reformulating the automated Social Choreography: Denomination... Social Choreography TkH 21 61

functionality of using the body technologically work: that of the viewer and that of a mental ☐ “Retrospective” by Xavier Le Roy. Photograph by LluÍs Bover. into “magic”, engendering amazement (of image of the past, that is, an exposure of (next page also) the kind that, according to Aristotle, gives the viewer to a mental image of the past. rise to philosophy). That is the “double-take” our experience anew, anecdotally, and to focus method, familiar to us from Greek tragedy as In conclusion, I would argue that “double on every detail of the exhibition’s and our own well as from Benjamin’s interpretation of epic exposure” leads to a divisibility of the exhibition behaviour, because in each of those anecdotes theatre.2 It is a serial game of amazement/ space: as an exposition space, it is a place of with which we leave the exhibition “both the estrangement [očuđivanja] and recognition/ performance, but displacing exposure from the unconscious and social codes operate between reflection, which shock by means of a delayed, object of desire to the viewer, her exposure to a motives and determinants” (Cubitt 2013). ■ belated reaction. In Greek tragedy, two devices performance that is already a reflection, renders are crucial for its regulation: peripeteia, a the space theatrical, because “theatricality Works Cited: sudden, unexpected turn, and anagnorisis, the emerges where space and place can no longer be Althusser, Louis. Philosophy of the Encounter: Later Writings, 1978–87, London – New York: Verso, 2006 transition from ignorance into knowledge. In taken for granted or regarded as self-contained” Benjamin, Walter. “A Short History of Photography”, in Alan epic theatre, those mechanisms are interruption (Weber 2004, 300). Being in between an Trachtenberg (ed.), Classic Essays on Photography, New Haven, CT: (Unterbrechung) and afterthought (Nachdenken). exhibition and performance, at a border that is Leete’s Island Books, 1980, pp. 199–216 Bogost, Ian. Unit Operations: An Approach to Videogame However, in this case, I think it is a reversible a trembling illusion (illudere), “Retrospective” is Criticism, Cambridge, MA: MIT Press, 2006 situation, not stemming from the logic of precisely in between, a medium, an intervention Cubitt, Sean. “Anecdotal Evidence”, 2013, http://www.necsus- the “double take”, as is the case with Le (inter, “between” + venire, “to come”). ejms.org/anecdotal-evidence/ (17 October 2013) Roy’s performances, but a “double exposure” And a medium qua intervention does not Kostanić, Marko. “Koreografsko nesvjesno” (The Choreographic Unconscious), programme notes to choreography. What is exhibited is not a hold us in a condition, but demands that we Poluinterpretacije ili kako objasniti suvremeni ples nemrtvom choreographic object of desire but a reflection hold up in the face of that condition (Haltung).3 zecu, a performance by BADco., Zagreb, 2011 of that desire, what remains of desire after the In “Retrospective”, it is an encounter where Serres, Michel. Genesis, Ann Arbor: University of Michigan Press, 1995 afterthought; what is exhibited is a reflection the viewer’s behaviour keeps the performance Weber, Samuel. Benjamin’s -abilities, Cambridge, MA: Harvard of choreography. Although at first it does not machine running or shuts it down. Its series University Press, 2008 seem that way, the opposite of the concept of of divisibilities does not allow us to settle in a Weber, Samuel. Theatricality as Medium, New York: Fordham University Press, 2004 retrospective is not the concept of perspective stable spot, where there would be no intervening as “looking through”, but the concept of between us and the observed. The only thing that prospect as “looking ahead”. According to its remains as an antidote to the drive of constant dictionary definition, a prospect is a mental interruptions and mediations is to approach image of an imagined future. Following that 3 As intervention, it causes the borders of all interiority – and be logic, a retrospective is precisely a mental they those of the interval itself – to tremble. This “trembling” also image stemming from a delayed or retarded delineates the enabling limits of the theatrical stage as a scene consideration of a past event. Therefore, that both separates and joins whatever comes together in and around it. Such trembling and tremors summon its audience to “Retrospective” is not an exhibition but an do more than merely hear, its spectators to do more than merely exposition, where a “double exposure” is at see, its actors to do more than merely act. It exposes them to the afterthought that, after all, they share the same trembling space of singularity. It is a space not of Einfühlung but of Exponierung, 2 For a more thorough discussion of the double-take method, of exposure to the possibility of separation and detachment. see Weber 2004, 295–312. (Weber 2008, 113) 62 TkH 21 Social Choreography Group of Authors Social Choreography: Denomination... Social Choreography TkH 21 63 Social Choreography: Denomination from Art Practices*

* The editors of the TkH journal asked a 9x9 This “social choreography” seeks to create few practitioners of European contemporary and Social a social situation onstage in which the dance and performance to respond, in Choreography participants perform their social and political writing, to the following questions: preferences, “publicly confess” by coming together and forming groups. It mobilises Do you use the term “social choreography” Christine De Smedt ● ● the groups and provokes spontaneous in your work? If yes, what does it denote or The term “social choreography” was reactions in a prepared situation that describe in your practice and your works? used for one of the many choreographic produces a certain social organisation.2 Does it bear any sort of relationship and if structures developed during 9x9.1 The choreographic structure is based on yes, how and in what manner, to physical a series of questions put to the performers 1 9x9 was a choreographic project intitiated by Christine De movement, public space, community, (political) Smedt, comprising performances created with ideally 9x9=81 and changes according to the context and the mobilisation, ideology, or performance? performers. The basic concepts of the project were created in participants involved. We prepared separate collaboration with Mårten Spångberg, Tino Sehgal, Lilia Mestre, lists of questions for different groups of Mette Edvardsen, Nuno Bizarro, Alexandra Bachzetsis, and Steffan Eek. Later on, others joined in the realisation stage of participants, ranging in age between three and the project: Maria-Clara Villa Lobos, Eva Meyer-Keller, Carlos 81 years and comprising such diverse profiles Pez, Ivana Muller, Vera Knolle, Palle Irvdal, Hellen Vervondel, as, for instance, a group of photographers Harold Henning, Gerd van Looy (light), Vincent Malstaf (sound), Bruno Pocheron (light). The project, a production of Les Ballets and a group of parents with their babies. C. de la B., had its première in September 2000. Until 2005, 15 different performances were created at different venues, with The questions are grouped in a number of a variety of groups and settings: Paris, France – employees of the Centre Pompidou; Ghent, Belgium – young residents of the thematic blocks, treating topics such as social city of Ghent, with another version performed in a museum with relationships, politics, love, sexual experiences, adolescents from each of Belgium’s three federal communities; entertainment, mass media, private and Rotterdam, the Netherlands – 5–12-month-old babies and one parent; Glasgow, Great Britain – residents between 1 and 81 years social behaviour, position in society, etc. of age; Porto, Portugal – a group of residents over the age of 50; Berlin, Germany – two performances, one with professional performers and another with university students; Amsterdam, the Netherlands – singers, in a park; Turnhout, Belgium – residents 2 For the first time, a social organisation was developed at the from diverse socio-cultural associations; Montreal, Canada – Schaubühne in Berlin in 2000, with professional performers. The young people between 15 and 25 years of age; Nantes, France artistic crew for conceptualising the Berlin performance included – residents from the neighbourhood and the city; Texel, the Mårten Spångberg, Mette Edvardsen, Lilia Mestre, Tino Sehgal, Netherlands – a group of islanders, on the beach; Vienna, Austria Nuno Bizarro, Alexandra Bachzetsis, Steffan Eek, Maria Clara Villa- – physically fit residents and ex-dancers; and Brussels, Belgium – Lobos, Gerd Van Looy (light), Vincent Malstaff (sound), and Sylvia amateur photographers. Hasenclever (costumes). 64 TkH 21 Social Choreography Group of Authors

The performers answer the questions by 9x9 is also a social event, a coming together organising themselves in relation to the others in of people from different social backgrounds, the room / on the stage / in the performance area. age, city configurations, but most of all it is a This spatial organisation might mean forming project where each participant creates his/her a line in a certain order relative to the question own social field of connections and is allowed, posed, or forming groups, or taking a step forward with his/her own motivation, to question and or backward, or turning front or back, etc. strengthen his/her identity, self-image, social The performers are informed about the abilities and physical openness. It is important framework and rules of the choreography for 9x9 to allow all kinds of social interaction beforehand, but they do not know the contents with a minimum of restrictions and didactic of the questions before the performance starts. goals. 9x9 offers a radical solidarity between all of its participants by not insisting on one For example: or another, but on each and every one. ■ × Individuals in the room living together with more than five people, form one group. × Individuals in the room living alone, Dancing Together form one group. × Individuals in the room sharing a household, form one group. Benjamin Pohlig ● ● Lately I have × Individuals living with their parents, become preoccupied with the notion of dancing form one group. together. Rather than calling it social dancing, × Individuals in the room who are members which quite aptly describes the practice of of an association or a club, form one group. ☐ 9x9 Turnhout, 2002 (invitation) socialising by means of dancing, in my work I refer to it as “social choreography”. I want to At first, we called this choreographic chance such as the ones of a city, to extremely strict take this opportunity to explain, perhaps to proposal “social organisation” but then we organisations such as the ones of mathematics, pop myself as well, why I have come to regard my shifted to the notion of social choreography, or mass culture in the sense of researching what practice as “social choreography” and not as in order to identify the choreographic value choreographic strategies these cultural spheres use something else. As I already mentioned, I am of how we behave in different contexts. and what the globalisation, new media etc. imply for interested in dancing together, which in my the change or not of minority choreographies, high art performance practice means extending an Although we used the term “social choreographies etc. The motivation of the research invitation to the audience to come together in choreography” for a specific choreographic undertaken for 9x9 not to create a linear material (a a collective dance that I try to guide verbally structure, 9x9 was concerned with social show) but to invest in a multiplicity also in the process as well as with my own body. For me, dancing choreography in a broader sense as well. – to create a kind of library where any and all ideas of together is as much about how we come together Conceptually, the 9x9 project began by whatever kind could be given their own place. A way to enact a community as it is about enacting researching what masses, large sizes, crowds of of working that also insists on finding other modes of and expressing the ideological framework that all kinds, the club culture, demonstrations, mass thinking process, what material is, what choreography a community requires to persist. It is about choreographies, sports events, and processions means in respect of time, space, interaction and from doing community, as action and as ideology. signify when observed and understood as what sources we allow to bring it onto the stage. […] Here I understand community in rudimentary choreography. Between 2000 and 2005, we 9x9 is presented in a large range of frameworks terms, first and foremost as a group of bodies created 15 different performances based on which all however function as public spaces that perceive their being together. But one finds choreographic principles that might produce and thus creating certain kinds of individual instances of that almost everywhere. The Ultras, social situations where social relationships as well as group and mass behaviour. […] well-organised and extremist football fans, are are part of the concern itself: how to govern It is important that the choice of participants in a splendid example. In my performance practice, a group in various contexts, how to organise each situation is contextually dependent. In Tramway, though, I want the audience to experience the a group, how a group organises itself. a museum/theatre in Glasgow, it was important to potential of being together without abandoning emphasise that Tramway was open to every individual their individuality. This experience pertains to I want to quote here some fragments from in Glasgow and that there are as many ways of being the body and to bodies in interaction. The body a text by Mårten Spångberg3 written in 2003: in a museum as there are individuals. We therefore is our utopian kernel, from it we venture forth used one participant of each year of birth from 2001 into the world to interact with it and dare change 9x9 is a project where conventions for how to to 1918. To emphasise the conditions of cultural it for the better. Relating to other bodies, we create and how to identify a dance performance capital, in Porto, we decided to invite the group find our limits and potentialities. As a dance- are questioned simply by its size, and perhaps in society that carry cultural myth and memory. maker concerned with the body, I have come to impossibility. Three basic issues became form: body The youngest participants in the performance combine embodiment with voice in choreography, as mass and how we can question hierarchies of were 55 years old – the oldest far beyond 85. In to tackle the question of community and the body as singular and in collaboration with other Rotterdam the presenter took an interest in the the utopian potential of being together. bodies of different size, age, social class, gender etc., cultural multiplicity. Instead of showing people of Before returning to the issues raised above, mass choreography in all its facets from musical all colours, we instead invited babies (5–11 months) in relation to what I understand as “social choreography to parades, from choreographies of to bring their parents wherever they happen to choreography”, I want to make a brief digression come from, thus presenting a double fold of what it and explain why I don’t consider my practice 3 The text was written as part of an application for funds to implies to live, to be born and to come together in “participatory art”. It is something that, I continue the project and to produce a book on the process of 9x9. Rotterdam, in respect of how to create identity. […] would say, differs greatly from what “social Social Choreography: Denomination... Social Choreography TkH 21 65

in politics. “Social choreography” is then the choreography of togetherness, the enactment of a community rendered visible. It is an instrument for a critical analysis of all the choreographies of a community. In a single moment of enacting a community, it can make visible the functioning of the social, its interrelations and the distribution of agency. Therefore, the kind of dancing together that interests me is, unlike social dancing, not about socialising in order to be together, but about making visible the enactment of a community itself by means of bodies.

The collective dances of my performance practice are as much bodily as verbally guided by the performer. Not only do I propose small games, but like a storyteller, a narrator, I also attempt to frame the experience of dancing together by relating the tasks of each game to a form of being together. For example, positioned in a circle, we might play a game of copying movement, whereby each participant has a choreography” implies. First of all, I believe that ☐ Dance Yourself Clean, performance, Benjamin Pohlig, chance to propose a move to the group to imitate. all art is participatory. The relationship between photograph by Tomas Mutsaers As a simplified form of agency, everyone can a work and its recipient is always an in-between of the audience (who decided not to perform), at experience being affected and affecting other that demands collaboration. The meaning of a the same time. Those members of the audience bodies with their own, governing and being painting is always constructed in dialogue with who decide not to join in, not to perform, are governed. I might accompany such an action its observer. Likewise a performance manifests still participating as observers, knowing they by saying something along the lines of “keep in itself through the relationship between the could have made the opposite decision just mind that not a single decision is made just by an performer and the audience. Consequently, I find as well. What is crucial in dancing together is individual, just as not a single decision is made it unnecessary to state that my or anyone’s art not participation as such but the experience of just by a collective”. It is an attempt to visualise is participatory, when the audience is always- permeability that making a decision provides, by how bodies enact ideology and how ideology already active in the production of its meaning. sharing the responsibility and supporting each enacts bodies. At the moment, the performer It is, however, true, that my performance other’s experience in varying roles. Art not as an speaks for and of the community. In the long practice would fail if no audience members experience made individually or by individuals but run, I see a need to develop a performance were willing to participate in the collective collectively and in a relationship. An experience practice that will lend a voice to the audience dance. On the other hand, I would consider it of interdependency itself, even. For me, the first as well, to highlight the egalitarian intent of the a complete failure, too, if everyone did join in. step in throwing one’s body into a relationship cooperative games that we dance together. What I really propose to the audience is to make and a community is not in the act of participating a decision, to join or not to join. If we assume but executing a simplified form of agency. But using voice seems crucial to me, that a performance normally consists of the because in fact, I think that all choreographies relationship between the performer and the Now what does that mean for “social are bodily enactments of ideology, which audience, I hope that my proposition adds a choreography”? I understand choreography itself finds expression in language. I would go third category – that of the in-between, of the as a regime that organises the relationships of as far as to say that language is ideology, dialogue between the work and the observer, of bodies in time and space. This, I think, allows enacted by the body through its voice. I the performing audience. A performing audience, us to extend the paradigm to a large number of don’t think that language is simply a means not a participating audience. The latter is a given social phenomena and comprehend the role of of expressing ideology but that language anyway. However, this category can only exist bodies and their agency in enacting them. In fact, is shaped by ideology itself. Consequently, when the roles of the performer and the audience all types of enacting a community, be it dancing it is important for “social choreography” as are upheld, almost reinforced. By means of together or even the more elaborate moments an act of critical analysis not just to enact a repeated invitations, the audience is encouraged of making politics, require some choreography. community through dancing together, but also to participate in the performance, to perform the A parliamentary session needs as much to express, simultaneously, through voice, the work with me. But at all times, the performance is management and regulation of the flow of bodies language and ideology that is being enacted. still led by the performer even if the responsibility in time as does a general assembly of the Occupy Language is where the concreteness of bodies is shared and failure is a real possibility. The movement. Even a stroll through the shopping meets the representational field of politics audience performs but does not take over the mall is a highly orchestrated choreography of by means of the voice. It is the expression role of the performer. At all times, the performer bodies within an architectural apparatus. In of a community of bodies, its narrative is, even if adapting on the go, adhering to a rough fact, it is a neatly woven net of intersubjective enacted and it seems relevant to listen to plan for the performance and thus is, unlike the relationships and the distribution of agency, but what that voice has to say about itself. audience, in the know. However, the audience these regimes are not always visible, nor are is only able to experience performing as such their inherent ideologies. There is always a body In The Uprising, Bifo describes contemporary because it is being watched by other members in choreography and always a choreography finance capitalism as a semio-capitalism in 66 TkH 21 Social Choreography Group of Authors which the language of money has reached a level of abstraction that enables the production of value through value itself completely disconnected from material goods. Neoliberalism is the ideological voice of semio- capitalism, producing narrative after narrative to justify its harsh regulation of the social body so it may be appropriated through the market. With the fall of state communism in Europe, it seems to me that we have lost the strongest voice of a social body that enacted opposition to the voice of Neoliberalism. The demise of state communism should not be mourned, but the resulting vacuum, this lack of another voice, a voice that could assert itself as an emancipatory and utopian body seems frightening at a time when we have yet to see the full extent of the toll that the choreography of capitalism will take on the social body. I call my work “social choreography” because I see it as a tool for analysing the choreographies and ideologies of enacting a community. It stresses the importance of This made me think about how the non- ☐ My Private Bio-politics, Saša Asentić, photograph by Dieter bodies in politics and focuses on the ideological functional contemporary dance and the Hartwig voice of every community of bodies. But as a utilitarian slet4 are in fact close in terms of However, this order fell apart in the final tool, I would consider it useless, if we did not their social efficiency, which means that we slet, which featured Sonja Vukićević. This dare to use it naively, asserting its ability to cannot observe or compare them in isolation is what she told us about the event: render the distribution of agency visible and from their concrete social contexts. enable us to practise and enact togetherness The interviews with Dubravka Maletić and …the last Celebration of May 25th, The Youth Day. I as a concrete and radical form of social Sonja Vukićević which Ana Vujanović and I don’t know who decided that there should be neither utopianism, which, I think, we badly need. ■ conducted as part of the project Tiger’s Leap into [the] military, nor children, nor I-do-not-know-what the Past were crucial in my further reflections event and decided to make a real theater performance on the relationship of dance and society. at the stadium, one figure, with a circular stage. how do we shape On dancers as society builders, There were 4,500 boys and 4,500 girls dancing the social body? Dubravka Maletić says: in a very modern way. First they would dance, then I would fly out and dance adagio, with a partner, At the time we were all enthusiasts, we then again they would dance, then some girls would Saša asentić ● ● This is one worked for free because we had it within come out of the forest, then someone would bring possible selection of references that shows ourselves, we had that strong desire to help in a huge circle of earth where I would dance Bolero, how I have dealt in my work with performing our society reach that higher goal. and all the others would be around me; that was one the relationship between the individual and Every performance was equally important really huge choreography. Tito’s photo was on the society over the last seven years. It also lists to us, be it in a factory, in the streets, on a left side and this caused a lot of turmoil. The kids some of the main influences that have helped football stadium, in National Theater. who did the choreography had made a mistake, they me to analyse that relationship and reflect In that way we got the feeling that we were didn’t join on time and a large U5 was created, and on it in terms of social choreography. Those helping in building the society, we were like artistic the country was in a tentative state at that time, references are organised chronologically. builders. That is how we felt, we considered one could feel that something was amiss. So, all the that our contribution to this development was newspapers spread the news that this was done In 2007 I read “Not Quite-Not Right great. By developing the country, we were on purpose. (Asentić & Vujanović 2006–2010) Eastern Western Dance”, a text by Ana developing ourselves. We were all in that circle Vujanović, in which she writes: of unity and those were really good times. Going back to contemporary dance. This made Getting to modern ballet was the highest me think about whether and how contemporary I would infer that dance as a cultural-artistic objective – dance, free dance, artistic dance, dance might stop merely reproducing and practice (and this implies contemporary dance as modern ballet, offered many more possibilities representing existing social choreographies well), is never [a] practice of human emancipation – it could be performed by anyone, anyone who onstage and become a place of re-examining disengaged from ideology, but a tool for shaping the had the desire to dance, whether in a mass of or intervening in them. Especially in that light, singular body as the social body. I propose this as a dancers, or just in one group, at a stadium or copying “familiar” tactics makes no sense base for a social way of thinking about dance, as a on a single stage, on a small theater stage, on critical-theoretical platform from which we could the stage of a university culture club, or in a 5 In the former Yugoslavia, the letter U was and still is often and should start addressing the aesthetic differences theater. (Asentić & Vujanović 2006–2010) interpreted as symbolising the Ustaše, the Croatian Nazi and particular purposes of this tool, as well as its collaborators from the Second World War who committed mass atrocities against the civilian population, especially the Serbs, complicity with or resistance toward the dominant 4 A slet was a type of mass parade frequently held in socialist Jews, Romani people, and left-oriented civilians of all ethnicities ideologies of certain social contexts. (Vujanović 2007) countries, including the former Yugoslavia – Translator’s note. – Translator’s note. Social Choreography: Denomination... Social Choreography TkH 21 67 because by copying them, one copies and its own possible demonstration or actualization, I thought it was great, because if we are transmits their entire social choreography, and as a part of an open research platform that the ideal, then we should use, examine, which at the same time remains unnoticed. includes also talks, methodological games, experiment with that, until maybe we That is why I devoted the whole of My Private discussions, etc. (Asentić & Vujanović 2013, 238) become the ideal of some future society. Bio-politics to the problem of copying. Eventually, I decided to open a crack in it for getting out of I found support for this belief in the potential of I’m interested in theatre as a place where an individual artistic work into the wider social art in an interview that Goran Sergej Pristaš had one can rehearse various social relations, as sphere, where in a larger setting we might re- done with Andrew Hewitt. That was the first time I well as temporarily establish them in relation examine the conditions of work in choreography, encountered the concept of social choreography: to the ideal of a future society. Such a society is as well as what our work itself performs. This not guaranteed to exist in the future but must kind of artistic (temporary) self-suspension Andrew Hewitt: My methodology of “social be made today and its extent is not a criterion is illustrated in the following paragraph: choreography” is rooted in an attempt to think of its success or relevance – we simply must the aesthetic as it operates at the very base act like that and it’s enough to start now to […] Here, together with my colleagues, I of social experience. I use the term social maintain continuity. The social choreography would like to open a gap through which we choreography to denote a tradition of thinking that I imagine and realise, both in my work with temporarily escape both from the original version about social order that derives its ideal from disabled people and my own original artistic of this performance as work-in-progress and the aesthetic realm and seeks to instill that projects, including On Trial Together, rehearses a from the later phase as work-in-regress. order directly at the level of the body. In its society that abolishes marginalisation processes Beyond this gap, there is a 3rd phase in most explicit form, this tradition has observed or reduces them to a minimum, does not use just which you can find My private bio-politics and the dynamic choreographic configurations one parameter to measure everything, nor applies the whole Indigo Dance project not as an art produced in dance and sought to apply those the same norms to all people, but starting from work, a “piece” but as a discursive platform. forms to the broader social and political sphere. the specificities of those concrete people, opens The platform is meant to be an artistic means, Accordingly, such social choreographies ascribe the possibility of forming a social community. or a methodological tool which we wish to share a fundamental role to the aesthetic in its On Trial Together is conceived as a hybrid public with contemporary dance and performance formulation of the political. (Pristaš 2007, 44–50) event between [a] theatre play, choreography, artists, who are willing to reflect their contexts and social game, and happening. It takes place public work. And also to all who have something I felt especially supported at the point in a theatre venue, thereby reaffirming the to say about the structure of the global World where Hewitt says that the aesthetic role of theatre in the symbolization of the of contemporary dance and performance. domain (dance as an art) is precisely the ☐ On Trial Together, Ana Vujanović and Saša Asentić, So, please consider this performance only as ideal that shapes the social body. photograph by Nataša Murge Savić (next page also) 68 TkH 21 Social Choreography Group of Authors

is normative. The second is deregulation, where writing does not change whether there is anyone procedural knowledge of a social choreography watching or not. (When such performances is instrumentalized for another goal or process. succeed, they are often called masterpieces.) […] The third is intervention, the rupture of procedures, and prescription that involves a direct On the other hand, a soft choreography is one and urgent application of a principle rather than that cannot exist without an audience. It is a a procedure. (Cvejić & Vujanović 2012, 75) performance carried out in relation to the specific desires of a specific group of people at a certain And I would conclude by saying that for me, time. It is a risky performance that might as well it is crucial that this process be continuous not happen. It is a fragile situation that asks and that it do not end with the third operation. the audience to share the responsibility for it. In that sense, maybe there is no ideal social choreography for me, or maybe an ideal social That said, it does not follow that nothing choreography would be one that does not is planned or that nothing will take place. allow normatisation to occur, or, as soon as Rather, the desire in soft choreography is to new principles turn into norms, opens the arrange conditions for encounters to occur. possibility of re-examining them anew. ■ social. However, the stage is reappropriated The softness of choreography applies not and transformed into a place in public space Works Cited: only to human physical movement, but also to where citizens discuss issues important in asentić, Saša and Ana Vujanović. Tigrov skok u istoriju the organisation of space, the organisation of a (evakuisana genealogija), video installation, 2006–2010, http:// their society and speculate about its future www.perart.org/savremeni-ples/tigrov-skok-u-istoriju/ (31 group in space and of its behaviour. The softness through fictional constructions. The authors October 2013) carries a persuasive quality. It has a seductive base this performance on principles of social, asentić, Saša and Ana Vujanović. “MY PRIVATE BIO-POLITICS: A but not sexual undertone, the seduction of being Performance on the Paper Floor (Third phase)”, in Stefan Hölscher live action and role-playing games, open and Philipp Schulte (eds.), Dance, Politics, and Co-immunity: part of a collective, sharing a certain time and for all audience members to take part in. Current Perspectives on Politics and Communities in the Arts, space, in order to construct something together. Zurich – Berlin: diaphanes, 2013, pp. 233–249 Today, the idea of the collective body may be a […] Content-wise, the departure point lies with a asentić, Saša and Ana Vujanović,. “On Trial Together”, utopian idea. It is an idea that our individualist performance, 2012, http://www.tkh-generator.net/portfolio/on- few fictional situations that refer to burning socio- trial-together/ (31 October 2013) society is constantly trying to disrupt by making political issues in a certain context. They are drafted Cvejić, Bojana and Ana Vujanović. Public Sphere by any kind of collective mobilisation and resistance in advance and left to the players to develop and Performance, Berlin: b_books – Paris: Les Laboratoires impossible. Contrary to this tendency, soft d’Aubervilliers, 2012 transform them through the process of playing, at Pristaš, Goran Sergej. “Andrew Hewitt: Choreography Is a Way choreography brings a group of people together, the same time narrating the stories of a possible of Thinking the Relationship of Aesthetics to Politics”. Frakcija 42, for a short, but precious moment in time. social organisation and relations. Structured in this year 2007, pp. 44–50 vujanović, Ana. “Not Quite-Not Right Eastern Western Dance way, the performance is a kind of “deep play”: a (On the Contemporary Dance Scene in Serbia)”, 2007, http:// The space grows soft when it is undivided, theatrical story we tell ourselves about ourselves, www.anavujanovic.info/#!/2011/11/not-quite-not-right-eastern- when the circulation in the room is open, when and a choreographic spectacle we create for no one’s western-dance-on-the-contemporary-dance-scene-in-serbia/ people are free to organise as they like. It is (31 October 2013) eyes. Those stories and its social choreography are important that the space be able to change. temporary, changeable, and they largely depend on That it do not have only one configuration, but us. Thus, On Trial Together becomes a theatrical that other potentials may be realised in it as story we tell ourselves about ourselves, and a Soft well. This means enabling people to change choreographic spectacle we create for no one’s Choreography their activities without necessarily noticing eyes. Each performance is a unique event (episode) when they pass from one state into another. that starts off with the situation created in the previous event in the chain, thus constructing an open Mette InGvARTSEn ● ● I say “soft” The mind grows soft when different modes of series with unpredictable results. (Vujanović 2012) because I do not want to say “social”. But what being start to intermingle. When critical reflection I really mean is another kind of organisation dissolves into a drifting sensation of pleasure To come into being and remain alive, such a of performance that would not rely on a clear and then returns, much sharper and clearer. community must constantly be re-actualised separation between the performers and the When a mental thought becomes a movement and upon every re-actualisation must not remain spectators, the stage and the auditorium, or tone. When a tone turns into a melody and “faithful” to the preceding order, which otherwise an encounter and a constructed event. becomes a verbal narrative or a heated debate. might become a decree and canon. It must be re-actualised because it is always different Soft choreography is the opposite “Interactive”, “collaborative”, and people in different conditions and new relations. of hard choreography. “participatory” are only a few of the words that have been used for this type of theatre. In Public Sphere by Performance, Bojana Hard choreography means: a choreography “Democratic” is another. And even though the Cvejić and Ana Vujanović argue that written down to the smallest detail without much medium of dance has been revisiting such space for deviance. A performance that can run concepts in recent years by reconstructing […] it is possible to distinguish three operations in all by itself. It does not change when someone utopias from the past (the 60s and the 70s), social choreography by which it can be transformed gets up and leaves, nor does it expand just it’s time to give it another try. Too much from normative practice as a phenomenon into because people want it to. It keeps its autonomy, hardness in the field of choreography (and in a critical model. The first is the recognition of its objecthood, and not much can shake it. It can my own work) makes it urgent to think of other regulatory procedures by which social choreography be performed without people observing it and its ways of being together in the theatre. ■ Social Choreography: Denomination... Social Choreography TkH 21 69

In my practice as a choreographer the term ☐ Choreography for Blackboards, 2010. Photograph by Christina An Ecology has evolved and enveloped earlier meanings in Gangos of Minds its wake: from a simple transposition of one’s through unspoken social agreements) can choreographic mode to a larger canvas (i.e. sediment and unfold. This ongoing discourse, a choreographing citizens) to a practice aware of transformative learning process, is at the heart of Michael KLIën ● ● …engaging society its inscribed socio-political modus operandi (i.e. my work. The intrinsic relational modes of these with the sensibility of an artist, a poet, a dancer what social structures are we really rehearsing dances resonate to form some of the organising and in the process cultivating an ecological, when choreographing?), to a practice that principles of the rehearsal and performance thereby more sustainable, social fabric… directly affects social realities, interactions, space (following self-similar self-organising In my work, social choreography first came to and political understandings by introducing principles), as well as reverberate into the overall the fore when I collaborated with dramaturge embodied knowledge and “mammalian wisdom” managerial structures of the organisation, Steve Valk at Ballett Frankfurt (2001–2002) and to the modes of everyday organisation. whereby individuals apply their embodied then formed one of the overarching concerns of In my works, such as Sediments of an Ordinary experiences in relating to others. Therefore my artistic direction of Daghdha Dance Company Mind (Kliën 2004), dancers are invited to cultivate I identify social choreography as a recursive in Limerick, Ireland (2003–2011). The concept their individual freedom/flexibility as a body arc that spans from bodily discourse to social has informed my work for over ten years now thought in movement, whilst simultaneously organisation, an arc of conscious and unconscious and gained in clarity with each subsequent negotiating and taking responsibility to ensure modes of ordering, which extends organically into conversation and practical application. the greatest possible stability of the collective relational and therefore institutional structures. …truth-finding…Social choreography (supporting the movement of others, giving At Daghdha Dance Company (Kliën 2010), I strives to perceive the hidden choreographies time, space, attention, learning, etc.). Over a experienced the growth of heterotopian social of humans, …the empty slate… and support, period of several weeks this process unfolds realities through collectively transposing through embodied knowledge, the entry of with little reference to language or predominant sensibilities of dance and dancing into institutionalised thinking into a state of dance … rational structures, perceptively aware of one’s institutional frameworks. At Daghdha, they an ecology of minds… in order to enable socially positioning in the collective, relying on embodied seemed to express themselves through an transformative processes. It seeks to unlock the knowledge rather than an authoritarian voice with unusual degree of openness toward otherness social potential and social fiction to effect change intrinsic expectations of when, where, and how and individuals speaking more freely, whilst and promote mental health. …emerging social to move. At times, I describe my choreographic harnessing social warmth and potential. order… Social choreography provides an ongoing work as a collective learning environment where Ambitious in scale, the work gave a large number practical discourse on the role of aesthetics in a dialogic and fluid choreography (not pre-fixed of people a different social context, palpable (the cultivation of) citizenship and governance. in space or time but temporarily maintained in the way they lived and worked: an outcome 70 TkH 21 Social Choreography Group of Authors of social choreography at work. Hence, social and explanatory systems. Choreography has First, there was the need to define and make choreography has come to signify a holistic moved beyond the architecture of its stationary accessible and available an emerging field of somatic practice that brings a deep bodily historical universe and has emerged as an urgently relevant socio-cultural activity. Second, awareness to the creation of social situations embodied act of a human consciousness no it was important to establish an “official” social and the emergence of structures and orders. It longer separate from, but embedded within, body that could speak, engage, and thereby have signals a politics rooted in the unknown rather the irreducible, unfathomably complex a transformative effect on the formalised field of than the known, at the navel of all dreams, ordering system of the biological world. sociopolitical relations. In its daily activities, the with a view of cultivating a more ecological and Michael Kliën and Steve Valk, “Choreography Institute of Social Choreography specialises in ethical “being with” and being together. ■ as an Aesthetics of Change” deep dramaturgical research, the development of new cultural formats and collaborative networks, Works Cited: The frames of paintings, the pedestals of and the practice of social choreography as a Kliën, Michael. Sediments of an Ordinary Mind, choreography, statues, the styles of architecture fell, as set of methods for discovering and manifesting 2004, http://vimeo.com/10381439 (29 November 2013) Kliën, Michael. 5 Years – Daghdha Space – Slideshow, 2010, dust falls from the feet of the traveler who alternative patterns in the ecology of our http://vimeo.com/11810173 (29 November 2013) has reached the end of his journey. collective experience. The project’s partners The house, freed from aesthetic range from social-service providers of all kinds, tradition, became a living creature. religious organisations, schools, foundations Frederick J. Kiesler, Manifesto on Correalism to art, performance, and design universities, Social creative agencies, the Occupy movement, local Choreography: Having understood the world and international cultural initiatives, museums, A Discipline differently, something should follow for dance departments and government agencies. Its Evolving toward a how we conduct our affairs in it. primary aim is to expand, extend, and integrate Cultural Practice Andrew Pickering, Making another World experiential knowledge, attained in the visual and performing arts, into all aspects of civic and Experiential Knowledge ● Social cultural life. Performative experimentation Steve vA LK ● ● The old idea of a cell choreography is indeed a term I use in my work. In is its central methodological principle. being like a sack full of proteins and all sorts December 2012 – with the support of, and in of other good things has been supplanted by collaboration with, a longstanding network of The Ethico-aesthetic the contemporary view of the cell as having local, regional, and international trans- Paradigm ● My own work as a dramaturge a complex inner structure that bears more disciplinary theorists, cultural workers, civic and artist is deeply affected by the work of others resemblance to the structure of a city than partners, and friends – I founded the first with whom I write, interact, reflect, and perform, to the structure of a sack of flour […] Institute of Social Choreography here in Frankfurt, and their contributions feature here as well, in But the point at which the true focus of Germany. The reasons for founding such an this essay. My ties to social choreography thus this account starts to become clear is when institution were numerous and multifaceted. oblige me to act across many disciplines and we discover that it is precisely this freezing of the cell’s chemical make-up which institutes a totally new kind of freedom, one which I call semiotic freedom. Because even the single-celled organism knew a little trick which proved most effective in tempering the growth of predictability. It was able to describe itself – or at least key aspects of itself – in an abstract code embedded in the string of DNA molecule bases. Fragments of this coded self-description could then be copied, sometimes wrongly, and traded with other members of the same species – or even, on occasion, with members of another species. The never-ending sequence of “mistakes” and “misunderstandings” that put life-forms on Earth into a constant state of flux, the sequence which we call organic evolution, was set in motion. Jesper Hoffmeyer, Signs of Meaning in the Universe

Out of a growing awareness of the ever- widening gap between “the way man thinks and the way nature works”, choreography, traditionally understood as “the art of movement in time and space”, has found itself being drawn away from “the ideal world” of the stage. At the same time it has been driven to undergo a re-examination of its conceptual language Social Choreography: Denomination... Social Choreography TkH 21 71

social spheres. As an engaged “choreographer”, phenotype of all living creatures; creativity as a ☐ “UnderstandinG Workshop #2”: memorial design project with I inhabit an embodied dimension situated at the mode of survival. Paradoxically, it is also at this German and American high school students. Photograph by Lena Dittlmann interstices of others’ creative practices. So, here, deep epistemic level that many of our society’s ☐ 7 Steps to a Creative City: Workshop for Civic and Cultural for example, I rely on ideas of Félix Guattari, most destructive belief systems and behavioural Leaders. Dancer: Kristina Veit. Photograph by Astrid Korntheuer as reflected in the work of Claire Bishop: patterns are anchored. A new, expanded, and (previous page) urgently necessary role that arts and culture discovering that to navigate he needs the blind Near the end of his last book Chaosmosis (1993), must play is to work toward creating alternative counsel of Tiresias: the somatic wisdom of the Félix Guattari asks: “how do you bring a classroom life disciplines and generative social ecologies unsighted “seer” who is literally without “ideas” to life as if it were a work of art?” For Guattari, art that might assist in reversing the habitual (as the Greek term idea comes from idein, an is an endlessly renewable source of vitalist energy cycles of systemic creatural and environmental infinitive form of the verb “to see”) but endowed and creation, a constant force of mutation and destruction that currently have a death-grip on nevertheless with prophetic vision. Oedipus subversion. He lays out a tripartite schema of art’s our lives and the future of the human species. must lose the hegemony of ideation in order to development, arguing that we are on the brink of a rediscover his unspeakable animality. He must new paradigm in which art is no longer beholden to Somatic Writing ● Choreography is discover that he has broken the incest taboo, Capital. In this new state of affairs, which he names “dance-writing”. It is not only composing designs Lévi-Strauss’s boundary marker between nature the “ethico-aesthetic paradigm”, art should claim for dance but also dancing to compose: the and culture, and so encounter the somatic “a key position of transversality with respect to inversion of the head with the torso as in the writing of his own genome: his emergence as other Universes of value”, bringing about mutant cognitive reversal embodied in Tai Chi Ch’uan. The a human being out of simian ancestry. When forms of subjectivity and rehumanising disciplinary body thinks and guides the overly ratiocinative we shift our consciousness from the head to institutions. Transversality, for Guattari, denotes head to dance. The writing of and by the body the torso, we begin to write, and to steer out a “militant, social, undisciplined creativity”; it is a instructs the head how to gesture again in the ship of state, from a new perspective: one line rather than a point, a bridge or a movement, step with its mammalian origins. In the Greek that can transform the human being from her/ motored by group Eros. (Bishop 2012, 273) theater, where as Aristotle recounts the actor his foundations. This is the transformative once stepped forth from the chorus to initiate art of socially engaged cultural practice. Dances of Agency ● I see my discipline the drama out of the dithyramb, the emergence Daniel White, in a recent e-mail as a kind of transversal, trial-and-error creativity, of prose out of poetry and of rationality (the which by its nature must be deeply ingrained and logos) out of emotion and imagination (mythos) Social Choreography: Early spontaneous: undisciplined action arising out of began. But as Greek tragedy develops we find history / Origins ● Emerging relentless practice. In a way, this is akin, I think, Oedipus, hailed by the chorus to steer the ship from a specific historical configuration of to the “vitality” that evolution encodes in the of state as it rolls in tempestuous waters, transformative and ultimately paradigm-shifting 72 TkH 21 Social Choreography Group of Authors artistic work at Ballett Frankfurt in the late Choreography as an Aesthetics of 1990s, the term “social choreography” has, in Change ● Taking this awareness as its point my understanding, become synonymous with of departure, I believe the Institute of Social a new participatory/situational epistemology Choreography is in the process of making further emanating from the institution and conceptual inroads into positing choreography as a discipline architectures of contemporary dance. The evolving toward a cultural practice. Its ongoing origins and unfolding of this transformation, projects and practice-based research continue here in Frankfurt, coincided with Ballett to investigate how choreographic practice may Frankfurt’s move from the city’s opera house help the emergence of original politics with and its proscenium (“in front of the scenery”, regards to responsible citizenship/stewardship stage...) to the vast, immersive, and open and also the management of complex human expanses of the Bockenheimer Depot, with systems and creation of flexible and responsive its unmediated access, both visual and institutions. The Institute of Social Choreography architectural, to the neighbourhood streets, aims to identify, strengthen, and open new sidewalks, and passersby. In my role as Head political dimensions of aesthetic practice, not Dramaturge and Artistic Collaborator at the by representing ideologies, but by creating the time, I believe that this situational “change- conditions for original social relations to arise of-scene” also changed the Frankfurt Ballett’s directly out of choreographic practice. ■ performance architectures, bringing forth works like White Bouncy Castle and Endless House. Works Cited: It also altered the conceptual frameworks Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship, London – New York: Verso, 2012 and conventions the Frankfurt Ballett shared hoffmeyer, Jesper. Signs of Meaning in the Universe, with traditional institutions of contemporary Bloomington, IN: Indiana University Press, 1996 dance, bringing about large-scale participatory Kiesler Frederick. Inside the Endless House, Vienna: Historical Museum of Vienna, 2002 projects like Schmalclub, where, for example, Kliën, Michael and valk, Steve. “Choreography as an 250 people slept overnight in the theatre, Aesthetics of Change”, 2008, http://choreograph.net/articles/ or New Meaningful Public Space, a curated lead-article-choreography-as-an-aesthetics-of-change (29 public living room that remained open for November 2013) Kliën, Michael and valk, Steve. Framemakers: Choreography four months in two consecutive years. as an Aesthetics of Change, Limerick, Ireland: Daghdha Dance Company, 2008 Cybernetic Epistemology ● During Pickering, Andrew. Making Another World, Melbourne: University of Melbourne, 2007 this period, elaborate participatory networks were developed throughout the surrounding neighbourhood, the city, and even the region. Acknowledgements: The Bockenheimer Depot served as a home I would like to thank Ana Sánchez-Colberg, Michael Kliën, Andrew Pickering, Alan Shapiro, and Daniel White for their support and base and point of orientation for wider socio- feedback in writing this article. cultural developments happening in the creative community in and around Frankfurt. Working under the simple and boldly naive assumption that the theatrical stage was a part of life as such and that the strategies developed there had a wider relevance, including the reordering of the social sphere, the emerging field of social choreography that began at the Ballett Frankfurt and continued after its closing in 2004 in places like Ireland’s Daghdha Dance Company under the direction of choreographer Michael Kliën (2003–2011), began asking questions like “Who choreographs what in our society?” and “How are things ordered and what frames are created for movement to take place?”. The term “choreography” was transposed to the field of human relations, as a way of seeing and engaging with the world, an art of interacting and interfering with... an art of traversing... the everyday governance of relations and dynamics, expressed in physical movement or ideas. The result was the opening of a new and vital territory of understanding and engagement, a territory without limits, a territory with the potential to forge links and find connections throughout and at any point in the social sphere. Of Dance, Derivatives, Decolonization... Social Choreography TkH 21 73 Of Dance, Derivatives, Decolonization, and Kinesthemes

Randy MARTIn ● ● Social (on the persistence of racism in response to and Scholes, yet in actuality the genealogies, choreography situates embodied movement Obama’s election).1 Dance, in these examples, contexts, and vectors of determination are far “at the very base of social experience”, a space is a prelude to real decisions taken; moreover, more diffuse and multi-layered. The rhythms and conventionally reserved for economy (Hewitt it is a distraction side-stepping what really cadences of bodies in motion and the manner 2005, 2). Now, economy has been displaced needs to get done if only a more muscular in which value circulates through society share in favor of finance, and the very conventions encounter could plant antagonists firmly before mutually constitutive principles of association of valuation have been upended. Finance one another. The political stage is already whose language is poorly articulated and more works through flows. It moves production set, its props familiar, the characteristics, readily explained as a succession of ideas from inside of circulation. It is a kind of compulsory motives, and methods of its dramatis personae exalted individuals. The turn to dance here is movement that mandates going forward. Even already known. The actors take their places, meant to make this language of social movement after crisis, we must keep going at all costs. ready to make history once the music stops audible, perceptible, sensible and legible. The price paid for this compulsion is that and the distracting dance comes to an end. Dance, of course, has a specific history, finance claims to see everything but has no In this moralistic dismissal of the salience of populated casts of venerated characters and knowledge of how it moves, or has no language dance to life, we can detect echoes of finance moments of expansive possibility and disciplining for its own movement. When it stops, all is portrayed as mindless movement, or cunning submission, but it also provides a scene for the crisis and ruin. When it lurches forward again jockeying for position, aimless revelry, or a production of knowledge and its limits that can all is forgotten and the dance resumes. subterfuge that distracts from what is really inform how movement happens in other domains. When used in this way, dance is always moving and shaking the world. In this, dance To learn from dance is not the same as insisting suspect. In conventional politics, to and finance could be analogized as equally that all learn to dance, it is not a claim that dance characterize something as a dance is to see ephemeral, diversionary, epiphenomenal to what could be the privileged practice that leads us all it as evasive, afield of authenticity, swirling is really real, what actually matters and should to the Promised Land, any more than the claim around its object, somehow caught out of time be cared about. It is time to break the tyranny of finance to lead us to wealth and happiness and unable to affect the progress it seeks. of metaphor, for dance and finance share more should be taken at face value. To privilege dance According to the Oxford English Dictionary, than rhyme – they move by the same rhythm. The analytically, as a critical method, invites thought this figurative invocation of dance suggests relation is not mimetic, not of an origin that starts from within its own conditions of movement, from one place and emanates outward or proceeds the means through which bodies are assembled to lead, rarely give (a person) a dance; fig. through a trail of anxious influence. Rather, and not by the terms through which their impact to lead (him) in a wearying, perplexing, or the relationship of movement practices across is brought to an end. To find ourselves in dance disappointing course; to cause him to undergo disparate sites that share certain kinesthetic is to locate our repertories of engagement as exertion or worry with no adequate result. attributes is derivative in character. The founding already in motion. And these self-making bodies fables of finance are that the originary ideas upon move variously, interdependently, multiply. Even A casual scan across the digital horizon which all is modeled sprung fully grown from in unison, difference is legible. Choreography would yield such phrases as “The Reconciliation the minds of an Irving Fisher or Messieurs Black discloses multiplicity under an artistic signature. Dance” (on politics and crime); “Wild Finance: What seems to issue from one body rests upon Where Money and Politics Dance” (on the 1 For representative examples after the financial bailout, see the coordinated and interdependent effort financial bailout); “The Dance of the Apologists” Thompson 2008, Big Tent Democrat 2009, and Cannon 2009. of so many and occasions a self-expansive 74 TkH 21 Social Choreography Randy Martin sociality. Dance is an ensemble of ensembles, always secured it a place in the world. Precarity, the factory floor is a fixed local where bodies an accomplishment of its own surplus that ephemerality, instability are frequently voiced sweat and toil, commodities are made, and bequeaths a fateful remainder, an unabsorbable as lamentations. Dancers, too, struggle to make subsequently those things are alienated from promise to all in attendance. In these a living; presentation venues strain against their makers, move or circulate far and wide respects, dance comports with the generalized diminished support; audiences contend with through representations of their worth manifest excess associated with nonknowledge. escalating ticket prices. For dance to move as instruments of credit and debt, and finally wind Dance was a key site for the cultivation of the the political beyond arrested development, up at some moment of reception or consumption body where confidence lay in a civilizing mission its knowledge of how bodies are assembled, where they are purchased and put to use. Dance that could effectively colonize nature– human of how space and time are configured, of how could be said to describe a different condition and geophysical. Culture (colere) braided these interconnections are valued must be made legible where circulation is fully inside of production, two enclosures or colonizations of the primitive beyond the ends of choreographic endeavor. where bodies sweat in place and move through drives, desires, will that would transform human Foregrounding the analytics of movement space, where use transpires in exchange through bodies into sources of labor and nature as so redolent in dance can make for a richer a moment of performance. Credit for a creation the wild and untamed raw materials – both of evaluation of what is generated through political collectively tendered and debt among bodies which were in need of disciplined and directed mobilization. For a politics that is abundant and of performers and audience entangled for a mastery. Civilization in this respect was always undervalued, the question becomes, how can particular duration assemble attention to a an incomplete project, both for the barbarous dance be mobilized to think through the present?3 transient value, fill a void, and leverage that means it deployed to achieve its ends and for the No doubt the present itself is not one thing but moment to some promise of further exchange. unceasing resistance to subordination that fueled many. Indeed, politics is the pathway forged Dance might, at first blush, be embarrassed to rebellion and revolution, as well as invention and through possibility, the realization of purpose in take on the mantle of the derivative. Modernist creativity. Culture would in this sense pertain a contentious field of movement. What moves pride would dictate an/the embrace of originality, to making bodies fit, but also apply to bodies us beyond existing conditions and constraints innovation, autonomy as what makes dance remaking what fits, ordering and reordering, usually consists of finding a way between capable of ruling its roost and securing its colonizing and decolonizing. Decolonization obdurate oppositions that threaten to subsume treasures. If, however, that confidence belongs in this most general sense entails breaking the imagination of generative and fluid socialities. to conditions of dance-making that no longer from enclosing rule but also making something The ethereal sylph-like presence that is prevail, other principles of sovereignty will need different out of what is broken, an emancipation perhaps the most conventional casting of to be divined if dance (or other performative from restricted movement and through an dancers, especially women, has been applied to practices for that matter) is to realize its esthetic opening and transformative mobilization. dance itself at great cost to the ways in which and political value. The point of departure here is Politics today suffers a crisis of evaluation. it has been valued and supported in a kind of that the derivative, when treated as a social logic Millions the world around have taken to the impossible economic anorexia. At the same time, and not only a financial instrument, discloses streets to depose governments, gathered from dancers are prized for their creativity, flexibility, what these altered conditions of sovereignty one state of precarity to enact another. But absence of material needs – they can make work entail. The derivative brings to notice what the tendencies of those on the ground, the in spare rooms with nothing more than their potential impact issues from seemingly minor dispositions of those who assumed positions bodies, often unshod, can purportedly subsist variations and how agency is incorporated and of authority, the conditions of the institutions on few calories, and even among performing dispersed such that the capacities to direct the issuing debt and demanding ransom have not artists deliver more for less by garnering the flows of life, which might have appeared scarce, been so easy to figure out. The political appears most meager wages.4 Their love of art subsidizes broken-down, and useless, are reappraised as a at once as a problem of too much and too little. their pursuit of perfection – making them the kind of abun-dance. Seeing how a derivative logic No aspect of human endeavor or expression is ideal laborers in an idealized creative economy.5 operates in dance holds the double promise of beyond deliberate contestation and yet each Dance is caught between the disavowal of the giving notice to what dance generalizes as social spirited intervention can leave the sense that corporeality of laboring bodies and as a model life beyond the underlying activity of dancing and not enough was done. Movement everywhere, of work without strife, complaint or much by what sustainable principles and creative practices crescendos of volatility, vertiginous shifts in way of recompense. Rather than accepting this may already lie to hand in what otherwise appears direction leave an impression of being out of time nefarious dichotomy between the real and the from the perspective of crisis as a world in ruins. or adrift in space. The ensuing disequilibrium fictitious said to distinguish industrial production Further, the focus on the ways in which small has proven disorienting to thought and made from financial monetary circulation as separate movements can be leveraged to larger gains and it difficult to discern direction amidst a thicket sectors of the economy, dance might be taken the practice of arbitrage are specifically the key of practices moving this way and that. General as a key site to grasp the ways in which bodies subject positions of the derivatives trader. By assemblies, mass occupations are posited as in movement make value. In the old conception, aggregating these interventions, the idea is not lacking demands or orienting ideas, mobilization to capture the whole person but to set identity is posed as the enemy of representation. and theoretical turn. See, for example, Martin 1965, Hanna 1987, in motion, to deliver what will momentarily stand But surely, moving through disequilibrium, and Foster 1986, the text that initiated the distinctive domain as a public interest in which so many brief site divining ways through spaces made for infinite called dance studies. For a recent instance of the philosophical visits and moments of attention or hits add up turn in European dance studies, see Sabisch 2011. For a recent possibility is what dance does best. Dance, at compilation reflective of this turn, see Klein & Noeth 2011. to a hit with significant impact. Hopefully, this least in its Western modernist formulation, 3 This question has informed my previous work on dance. See account of the derivative is beginning to get a bit is conventionally considered movement for Martin 1990 and 1998. more physical, to inscribe the ephemeral in some 4 At under 25,000, dancers in the United States are the fewest 2 itself. Yet such hard won autonomy has not in number of the listed arts occupations and average $27,392 in tangible corporeal animation. Finance is indeed annual salary as opposed to $27,558 for musicians and $30,254 all about compulsory movement, the obligation 2 Of course, this tension between dance’s particularity and for actors (National Endowment for the Arts 2011). to keep going at all costs, to go forward into its universalism runs through the historical and ethnological 5 This affective subsidy of artistic labor is what Andrew Ross has impulses that had constituted the conventional approaches to the called the “cultural discount” (Ross 2000). For a trenchant critique the future unencumbered by historical claims. study of dance until dance studies undertook a more philosophical of creative class appeals see Pasquinelli 2009. But if finance spreads movement everywhere, Of Dance, Derivatives, Decolonization... Social Choreography TkH 21 75 it generates no language of movement, no be understood as the orientation, sensibility, furniture manufacturer in Europe is making sensibility regarding how we are disposed to or predisposition that informs approaches to tables for a US retailer that will be ready in go one way and not another, no logic by which movement, the historically specific microphysics six months and will charge a million euros at we might grasp how the imperative to move that generates and governs motional force an exchange rate of a dollar and a half to the rules us, how we are oriented by it, through fields. From within mobilization all is networked euro. But should that rate change if the dollar it, against it toward some realization of how and from the perspective of a social kinesthetic appreciates or goes up against the euro, the else we might be moved and by what we might an organizational rule or logic is discernable. manufacturer stands to lose money when the rule together. This silence and stillness at the Neither term is originary, both are derivative. tables are ready for shipment and so is willing heart of finance stages the turn to dance, a Mobilizations coalesce in one place from what to spend a thousand euros for the right to jubilee of practices that sing the praises of has been made and will wind up elsewhere. Social exchange at the agreed upon rate, rather than bodily indebtedness and provide flight patterns kinesthetics are multiple and simultaneous, losing more money if the exchange rate becomes by which friendly skies might be known. a polyphony of forces and flows; they do not say, 1.6 dollars to the euro. On the other side of The point finally is not to generalize from impose a genealogy of influence but a series of the pond, for the purchaser, the impact would dance to other practices or to offer it as a model lateral connections where disparate practices be reversed; they would get the tables for of behavior that should be imitated elsewhere, are joined through some (but not all) of what fewer dollars but might readily want to protect but, rather, to privilege it analytically as making organizes them. This vocabulary is as abstract themselves from an appreciation of the dollar legible the kinesthetic dimensions of a social logic as that of financial derivatives. It needs to be against the euro. The agreement to exchange at a that operates as movement but does not provide grounded in a few practices that will make fixed rate acts as insurance that hedges against its own language of account from the perspective tangible the operation of a derivative logic in this risk. By so doing, the risk, or possibility of a of bodies in motion. In dance terms, we can dance and that might allow us to see the ways deviant but predictable outcome is also priced expose the derivative logics that course between in which dance fleshes out what a derivative through a contract that can be exchanged and network and organization through the concepts might do beyond the halls of finance. therefore becomes an instrument of investment of mobilization and the social kinesthetic. that hedges against a range of possible gains Mobilization pertains to the medium generating Toward Conjuncture ● Crisis in the or losses. In this case, there are derivative consequences of movement that render tangible economists’ formulation, even of a critical cast contracts in circulation for currency fluctuations the otherwise ephemeral entailments of time and like Nouriel Roubini, is an enactment of the in both directions based on the same sale. But space. Dancing mobilizes in one place-time and business cycle at a larger scale. Here, economics risks and occasions to create derivatives for space, making capacities that draw from wider is to establish its bona fides by showing that its various eventualities that emanate from a single sensibilities and are dispersed through aspects own movements follow natural laws. What goes exchange abound. For example, the sale of tables of many movement practices by which bodies up must come down. The materiality of a cycle can be subject not only to currency fluctuations, move together. To inquire into what dance is made is a nettlesome problem (what, after all, they but also to the possible cancellation of the order, of and what it makes besides itself is to refer to are made of, what makes for their regularities, or a bank’s inability to pay. As a consequence, questions of context or conjuncture – to cultivate why the closure and repetition of a cycle, the sum total of all derivative contracts far a sensibility that slices through as it conjoins or etc). Yet that of a cultural style drawn into a exceeds the actual or underlying price of the cleaves bodily attentions and orientations – in period would seem more so, as the movement assets being traded. As global transactions parallel fashion to the manner in which the of time would seem just as inexplicably to have increased, more and more kinds of risk ascent of finance has itself been understood.6 produce changes in expression and affiliation, are priced – from exchange and interest rates, Like the ideas that come from various cultural rather than inquiring into the ways in which to changes in temperature and the weather. studies of a structure of feeling, a pre-political certain principles of movement are formed While derivative contracts for agricultural disposition, tacit or virtual socialities, it is and how these in turn might circulate in and prices have been in existence for thousands possible to imagine the material surround of transform their world. The point here is not to of years, derivatives in their current guise corporal activity before it crystallizes as a specific lose sight of the relation between the cultural date from the ’70s and began to be traded practical expression.7 A social kinesthetic can and other social relations and processes, nor to extensively on formal exchanges in the 1990s. jettison the historical dimensions of particular The quantity of publicly traded derivatives 6 Here we would want to refer to those frameworks in the tradition of Marxist historical analysis that rely on differently sensibilities. On the contrary, if these relations is exceeded by over-the-counter contracts scaled temporal cycles or waves. The notion of long and short are not predetermined by a given resemblance made directly between parties. The contracts cycles as a way of understanding historical movement and transformation through crisis was developed by Fernand Braudel or reflection, nor by a pre-established duration do not terminate the exchange; only small and his peers in the Annales School based upon the work of the or cycle, then the burden of explanation falls percentages are actually paid when they are Russian economist Kondratieff. This work was furthered by Ernest upon the credibility of connections that can be due. Rather, the contracts are kept open or Mandel, upon whom Fredric Jameson based his periodization scheme for postmodernism, as well as the World Systems Analysis drawn. To suggest therefore that a derivative in ongoing exchange through what are called of Immanuel Wallerstein. The most accomplished articulation of logic is present across cultural and financial clearinghouses. The result is a continuous these schemas for finance in particular can be found in Arrighi practices is not to assign particular places in circulation of debt instruments and an 1994. While all of these analyses continue Braudel’s focus on what he calls material civilization, the figure of the wave or cycle an architectural order (which was what the idea integration of local production into global is strangely metaphysical, that is, it is not clear what the cycle of structure was based upon), but to identify markets and chances to make money whether itself is composed of, what generates its movement as movement principles of movement that associate an prices on those markets rise or fall. While besides the notion that certain phases last for a particular duration. Here my efforts are to use dance itself to ground what array of activities and flows of people, without derivatives reap tens of billions in revenue for is otherwise treated metaphorically in large-scale treatments of forcing them to conform to a singular idea. traders and if cashed in would be worth tens societal transformation and change. See Braudel 1992, Mandel 1975, and Wallerstein 2011. In the technical sense that obtains within of trillions (specifically at $27 trillion, still less 7 Structure of feeling is a term from Raymond Williams’s financial services, derivatives are conventionally than stock and bond markets, which globally Marxism and Literature (Williams 1977); the pre-political understood as contracts to exchange a certain have a market capitalization of some $200 describes the emergent sensibilities of the working-class in Thompson 1963; the idea of the virtual as tacit norms that govern amount of something at a determinate future trillion, still more than the annual global gross activity is developed by Erving Goffman in Goffman 1963. time at an agreed upon price. For example, a domestic product of some $75 trillion), the face 76 TkH 21 Social Choreography Randy Martin or notional value of all derivative contracts in to seek emancipation. The move here will be double meaning to fill spaces with people and 2012 was one and a half quadrillion dollars.8 to treat the social logic of the derivative as a leave them to ruin. Such movements have been Capital had claimed economy as the name of its consequence of these various decolonizations; described as starting and stopping (as in a social relations; the task here is to explore what an undoing of imposed unities and alignments historical period), rising and falling (as in a cycle) social logic is disclosed through the derivative of persons and places meant to gather wealth or ebbing and flowing (as in a wave). Yet there is that would account for its expansion and impact for others and subordinate interdependence as more to movement than presence or absence; beyond profit-taking exchange or as a mere a sociality in its own right to a dependency on certain qualities, orientations, dispositions, and succession in an unbroken chain of ever more forces of subordination. Decolonization is about organizing principles may reign under particular effective regimes of accumulation. Here “logic” the unmaking of the naturalness of dominating circumstances. Kinesthetics are the ways in will need to be a point of departure not closure principles of rule, of an unconscious embrace of which movements incorporate sensibilities among or completion, a sensibility that draws things terms of exchange that are uneven and unequal, some aggregate of bodies. These particular together in a particular way while moving beyond where desire is traded for a depreciating debt. sensibilities toward movement, prior to or more itself. Capital accumulation has also generated Decolonization is a movement away from these general than any specific stylistic manifestation, an abundance of social relations, mutualities and encapsulating forms of nation, selfhood, mass, constitute what can be considered a social encumbrances that it could not abide. It flees that pose as terms of autonomy and freedom, but kinesthetic. If an episteme describes a way of the socialities it engenders and moves toward that alienate these very concepts of liberation knowing that frames what will count, be valued, those it wants but a part of. The derivative is no to an impregnable authority. This movement and direct the trajectory of further knowledge, different. It draws upon all manner of value forms away, therefore, is not simply an escape from social kinesthetics forms kinesthemes or that are already in motion if not already to hand. some intolerable power, but a capacity of embodied forms of sovereignty or rule. Beyond the pervasiveness of the phenomenon, assembly, affinity and association – a value- Whereas an episteme is an array of rules by however, the question arises as to why it is useful giving circulation that capital in general and which knowledge is validated, or regularities analytically and politically to think the social finance in particular always claims as its own. within which it is produced, a kinestheme is the through the lens of the derivative. Demonstrating Financial risk is concerned with the departure regularization of bodily practices, the moment these various resonances will require a wide- from an expected magnitude of return, but it of power by and through which bodies are ranging approach, but a few provisional points cannot trace its own path of how it achieved this called – but also devise responses – to move in can be made at the onset. First, we could say that appreciation. The inability to discern illiquidity particular ways. Epistemic movement has been a derivative logic speaks to what is otherwise from insolvency speaks to the paucity of thought in terms of a temporal succession of a balefully named as fragmentation, dispersion, understanding of how to evaluate its own internal spatially delineated way of knowing, what Michel isolation, by allowing us to recognize ways in movement and therefore being condemned Foucault famously described as an archaeology, which the concrete particularities, the specific to persistent crisis when the movement and an order of things from which the very category engagements, commitments, interventions we the music stop, and the feigned shock that it of the human would be derived. The classical tender and expend might be interconnected had happened again. This indifference to what episteme, which articulates all that is knowable without first or ultimately needing to appear as a circulation creates, to what moves value but in representational taxonomies, followed by single whole or unity of practice or perspective. also what values movement cannot be divined the modern where abstraction ascends as Second, derivatives articulate what is made in from finance itself but requires exploring the language, is emancipated from representation motion, how production is inside circulation, and principle of association for itself; this is why it and the postmodern, which Foucault anticipates as such how to notice the value of our work in the is important to grasp the historical process of but does not name, as the rupture from these midst of volatility. Third, derivatives work through decolonization as re-orienting the principles of universalizing ideological schemas.9 While the agency of arbitrage, of small interventions sovereignty, by which people might rule their kinesthemes also have a history, they generate that make significant difference, of a generative own movements, and of how to value these and occupy more of a spatial configuration. As risk in the face of generalized failure but on behalf associations from within, on their own terms. such, various social kinesthetics can co-exist of a desired end. To recognize and realize these This bundling of attributes to generate value at the same time, or even in the same place. other kinds of gains that might issue from a more can now be applied to the scene of the cultural, Clearly, this is a very abstract and general fully elaborated social logic of the derivative, we where sense is made of the world, where value claim. Just as contemporary financial instruments must pull it from the wreckage of the economic shifts between what gets made for others and make legible various means through which where its conventional meanings are interred. what is constitutive of selves. The derivative derivative value is realized, dance makes Seen from the perspective of the aftermath of operates on these dispersed and distributed tangible these means of moving together, the Bretton Woods’ fall, the derivative as a financial moments of ways that people have learned to larger social kinesthetic of which a concrete instrument that colonizes cultural experience, as move together, to act upon certain sensibilities performance is the particularization. Dance economic reasserts epistemological priority even and interdependencies. The derivative references conventions of a particular period would typically as it is undone as an autonomous realm. Yet if we that movement, because it abstracts only those be approached as sharing a given style, grouping are in a condition after economy, the predicates attributes which can flow together, entangles them together by appearance and influence. of this situation need to be located not only in them in relations that operate beyond their The gain of these formalistic approaches, the internal limitations of market mechanisms, local manifestations, allows us to notice the evident in the seminal works of dance history but in a wider array of social processes through rhythms that animate seemingly separate and criticism such as those of John Martin, is which people craft various associations and domains while still recognizing how differences that dance ascends to its own language and entanglements from which capital continues continue to course through our social veins. interrogates the possibilities of movement for Cultural scenes are made from people in its own sake (Martin 1965). This perspective 8 The Bank of International Settlements (BIS) maintains movement. They come and go, etch pathways, replaces more universalizing dance ethnology, records on aggregate derivative transactions by type and over leave traces, inhabit and abandon, deposit such as that of Kurt Sachs, which views dance time. McKinsey Reports maintains statistics on global financial markets, including derivatives transactions. See Roxburgh et al. and withdraw their treasures. The action of 2011.. population, to populate (populare), bears this 9 The key texts here are Foucault 1970 and 1972. Of Dance, Derivatives, Decolonization... Social Choreography TkH 21 77 as expressing underlying impulses expressive what dancers impart in performance and what pass as dance, in the same way that financial of a shared human nature (Sachs 1937). audiences leave the scene with. Mark Franko instruments for risk management are regulatory Here, scholarly approaches to dance would insists that for dance, “metakinetic ‘exchange’ of what counts as value. Beginning with this recapitulate the tropes of reflection of an – the transfer of expression and interpellation restricted economy allows us to see what has underlying natural reality, or formal autonomy to its audience – was its labor” and that come undone and what has been opened up that characterized the discussion of culture more “dance is also political because of the ways when one form of sovereignty yields to another. broadly according to the anthropological and in which its models proliferated throughout If kinesthemes describe the general esthetic conceptions of the term. Rather than the social world” (Franko 2002, 167).11 What architecture through which bodily practices are treating dance as a reflex from natural dictates is engendered in performance is an embodied valued, the dispositions that orient movement or in a formal world of its own, starting with a empathy, which, as Susan Foster describes it, in relation to certain forces of authority, social kinesthetic makes it possible to inquire the way that stages are peopled by dancers into the ways the materialities of movement demonstrates the many ways in which gestures toward the occupation and ruination orientations in the social world are made legible the dancing body in its kinesthetic specificity of a particular scene. The risks taken at these in and through dance. It is not that style becomes formulates an appeal to views to be apprehended precarious moments do not simply bring irrelevant, or longer continuities of movement and felt, encouraging them to participate movement to an end, but can also shift how we orientation incoherent, but rather it becomes collectively in discovering the communal basis move together, what we value of those debts, possible to look at the kinesthetic resonances of their experience. (Foster 2010, 218) and what can rise from the ruins. Sovereignties between practices that are generated with very of currency, of political authority, of cultural different stylistic attributes and cultural scenes The desire on both parts to return to this scenography can profitably be articulated and circumstances. The bundling of cognate scene, to further dancing, is the basis for the together and through these kinesthetic means. movement attributes from disparate sources accursed share in dance, its own version of The co-presence of these various kinesthemes would make sense of a derivative in kinesthetic unabsorbable excess that aligns with Georges discloses a capacity to sustain various bodily terms, disclosing its logic as a social relation. Bataille’s notion of nonknowledge (Bataille sovereignties at once, a spatial multiplicity, but A logic is not a law, but a tendency towards 1991 and 2001). Recall that this surfeit of also points to the ways in which the boundaries rationalization of what is in force. A logic is sociality comes back to the body, overwhelms that separate one domain from another overflow not necessarily complete or successful. The the senses, hits it as laughter or some other their banks, a flood that ushers in another accumulation of capital forever oversteps affect. Dance would be one node to observe pathway by which movement transpires. Once its bounds, fails to realize the value it has this boomerang effect in reverse, a site of this has been accomplished for dance in the assembled, betrays its interests, undoes its accumulated kinesthetic value that discloses restricted sense, a world of movement, an purported unity. The social logic of the derivative what happens to all this excess. The dreaded archipelago of social choreographies, can is no less certain or secure. Treated here as figure of contagion, of an alien force that rapidly be opened up to emergent sensibilities. The a principle of association, interdependence spreads through a population, becomes palpable scenographic closures where dance takes and mobilization, dance is being deployed to in the dispersion of movement sensibilities. place can be decolonized and with it the social articulate the inner movement that finance Dances emerge from a larger field that is their kinesthetic decentered along the lines of the rests upon but cannot speak. Dance, no more social kinesthetic, yet the rules and powers of derivative, a flow that exceeds its boundary. ■ than any other cultural practice, is not simply this scene are not legible as such. There are, produced by following rules. Training for sure of course, textbooks on finance and manuals Works Cited is a form of discipline, but no one dances by for choreographic composition, but there is no Arrighi, Giovanni. The Long Twentieth Century: Money, Power, discipline alone, nor does a kinestheme arrest legend that maps the social kinesthetic. Its and the Origins of Our Times, London: Verso, 1994 what can be made of principles for moving contours will need to be derived from concrete Bataille, Georges. The Accursed Share: An Essay on General Economy, New York: Zone Books, 1991 together. Dance makes legible a means of instances. For each of the three kinesthemes, Bataille, Georges. The Unfinished System of Nonknowledge, embodied sensibility which allows for a valuing of an exemplary choreographic instance will be Minneapolis: University of Minnesota Press, 2001 mobilization of bodies in circulation that produce selected. These are meant neither to be typical Big Tent Democrat. “The Reconciliation Dance”, 2009, http:// conditions and occasions for further assembly. nor archetypal. There is no fixed relation between www.talkleft.com/story/2009/12/1/114139/706/otherpolitics/ The-Reconciliation-Dance (14 October 2013) Dancing and attending to dance each engender the concrete particular and the abstract general. Braudel, Fernand. Civilization and Capitalism, 15th–18th the desire for more. While the cash nexus, The question of what rules is a process of Century, Berkeley: University of California Press, 1992 opportunities for performance, career duration selection and sorting of what kinds of practices Cannon, Carl M. “Joe Wilson, Obama and the Clintons: The Dance of the Apologists”, 2009, http://www.politicsdaily. and durability of the body all link dance to can make a legitimate claim to authority or com/2009/09/11/joe-wilson-obama-and-the-clintons-the- scarcity, each instance of performed movement sovereignty. Sovereignty in this regard applies to dance-of-the-apologists/ (14 October 2013) opens to what is beyond it and what cannot bodily practices as much as it does to forms of Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dancing, Berkeley: University of be absorbed in the moment of performance. currency – in both cases much is in circulation California Press, 1986 These ephemeral moments whereby the while what ascends to the status of a practical Foster, Susan Leigh. Choreographing Empathy: Kinesthesia in bodies of dancers and audience encounter one universal, what is embraced for exchange Performance, London: Routledge, 2010 Foucault, Michel. The Order of Things: An Archaeology of the another are the media through which pass the everywhere can be rather circumscribed. Indeed Human Sciences, New York: Pantheon Books, 1970 distributed links and mutual debts that may it might be observed that the sovereignty linked Foucault, Michel. The Archaeology of Knowledge, New York: be paid for but can never be repaid.10 There is to a given kinestheme is regulatory of what can Pantheon Books, 1972 Franko, Mark: The Work of Dance: Labor, Movement, and no direct and contained exchange between Identity in the 1930s, Middletown, CT: Wesleyan University Press, 11 Franko is here speaking of the particular affinity between 2002 10 The notion of a distributed aesthetics is typically referenced modern dance and labor movements in the 1930s of the Goffman, Erving. Stigma: Notes on the Management of to digital media and network cultures; the shift here to embodied United States, but his notion of a non-reflective performative Spoiled Identity, Englewood Cliffs, NJ: Prentice Hall, 1963 performance practices is meant to enable consideration of the economy located in a refusal of a laboring body to submit to Gye, Lisa, Anna Munster, and Ingrid Richardson (eds.). The kinesthetics of distribution as such. See, for example, Gye et al. industrial rationalization resonates with more supple approach to Fibreculture Journal 7: Distributed Aesthetics, 2005, http://seven. 2005. discerning the work of dance in a range of circumstances. fibreculturejournal.org/ (14 October 2013) 78 TkH 21 Social Choreography Randy Martin hanna, Judith Lynne. To Dance Is Human: A Theory of Non- verbal Communication, Chicago: University of Chicago Press, 1987 hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement, Durham, NC: Duke University Press, 2005 Klein, Gabriele and noeth, Sandra (eds.). Emerging Bodies: The Performance of Worldmaking in Dance and Choreography, Bielefeld: Transcript, 2011 Mandel, Ernest. Late Capitalism, London: Verso, 1975 Martin, John. The Modern Dance, Brooklyn: Dance Horizons, 1965 Martin, Randy. Performance as Political Act: The Embodied Self, New York: Bergin & Garvey, 1990 Martin, Randy: Critical Moves: Dance Studies in Theory and Politics, Durham, NC: Duke University Press, 1998 national Endowment for the Arts. “Artists and Art Workers in the United States: Findings from the American Community Survey (2005–2009) and the Quarterly Census of Employment and Wages (2010)”, 2011, http://arts.gov/ publications/artists-and-art-workers-united-states-findings- american-community-survey-2005-2009-and (14 October 2013) Pasquinelli, Matteo. “Creative Sabotage in the Factory of Culture: Art, Gentrification and the Metropolis”, in Animal Spirits: A Bestiary of the Commons, Rotterdam: NAi Press, 2009, pp. 128–159 Ross, Andrew. “The Mental Labor Problem”, Social Text 63, 2000, pp. 1–32 Roxburgh, Charles, Lund, Susan and Piotrowski, John. “Mapping Global Capital Markets 2011”, 2011, http://www. mckinsey.com/insights/global_capital_markets/mapping_ global_capital_markets_2011 (15 August 2012) Sabisch, Petra. Choreographing Relations: Practical Philosophy and Contemporary Choreography in the Works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon, Munich: epodium, 2011 Sachs, Kurt. World History of the Dance, New York: Norton, 1937 Thompson, Edward Palmer. The Making of the English Working Class, New York: Vintage Books, 1963 Thompson, William Irwin. “Wild Finance: Where Money and Politics Dance”, 2008, http://integral-options.blogspot. com/2008/11/wild-finance-where-money-and-politics.html (14 October 2013) Wallerstein, Immanuel Maurice. The Modern World-system, Berkeley: University of California Press, 2011 Williams, Raymond. Marxism and Literature, Oxford: Oxford University Press, 1977 Notes Social Choreography TkH 21 79