Greece, global fault-lines and the disintegrative logics of Germany’s primacy in Europe

Post-Keynesian, heterodox and Marxist political economists have rightly argued that the eurozone crisis is not a fiscal crisis but a balance of payments crisis, mainly caused by the pivotal position of Germany in the European Monetary Union (EMU) and its neo-mercantilist model of growth (low wage, low inflation and export-led). This view, however, sees the split between core and periphery in the European Union as something created with the introduction of the EMU in 1999. This chapter contends that this is not the case. By putting forth a global fault-lines historical perspective and focusing on the case of Greece, it is argued that the problem is not the introduction of the EMU but the geopolitical and macroeconomic asymmetries between core and periphery in Europe since the inception of what vaguely – and even inaccurately – can be defined as ‘European modernity’. Global fault-lines offer a macro-historical and macroeconomic understanding of crises seen as structural events generated by the evolving and contradictory tendencies of capitalism as a world system. It is not just a political economy perspective but a perspective that encompasses many instances of the social, especially geopolitical and geocultural structures.

(Un)covering ground: dance, space and mobility

Ballet and modern dance teachers often exhort students to ‘travel across the floor’ and ‘cover ground’. These instructions invoke metaphors of travel and mobility that capture an array of common assumptions about dance, space and movement. This essay examines the spatial and mobility discourses that these instructions simultaneously build upon and produce while exploring the seductiveness of technique’s promise of mastering space through the moving body. Threading auto-ethnography with critical theory and moving across different disciplinary fields and writing styles, I explore the ways in which these instructions leak outside the perimeter of the dance studio to feed into the narrative of a dancer’s extended physical, geographical and social mobility. Analysing the mobility and travel discourses of my dance training vis-à-vis poststructuralist theorizations of the subaltern power of the nomad and theories of space and place, I argue that this narrative becomes complicit in the construction of an idealized notion of artistic nomadism, which, in turn, aligns with current neoliberal logics organised around the production of mobile subjects.