Breathing in the atmosphere : affect and improvised dance performance

Whether conceptually or experientially atmospheres are hazy. Atmospheric situations often emerge without us being able to control or fully apprehend the conditions of their emergence. Atmospheres affect us not at the cognitive level but through embodiment - through the sensory capacities of our bodies and subsequent registers of affect. We feel atmospheres. Dance improvisers also feel what emerges in an improvisation, whether as the adrenalizing effect of the audience’s presence or because the dancer is immersed in their own movement (as the affect of interest). But dance improvisation is a situation in which atmospheres (and their affective impacts) emerge in unpredictable ways. Becoming attuned to ‘what is going on’ is an aspect of improvisational skill but improvised performance is also an exposure to ‘not knowing’ – not knowing what will happen (or how it will change), not knowing what motivated the movement. This exposure to ‘forces of not knowing’ is similar to many atmospheric situations in everyday life which we negotiate according to personal habits and personal levels of discernment. This performative paper picks up on Gernot Bőhme’s concept of a “new aesthetics” such that hazy atmospheres, and the uncertainty of where they come from, can be claimed as part of an aesthetic encounter. It also reflects on the act of breathing as a potential interface between aesthetic and scientific definitions of ‘atmosphere’.

Technology as collaborator in somatic photographic practice

This visual essay will address several areas of research. First, it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the interrelationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. The following images were conceived through a performative somatic process, which I define in the course of this article. Through using a custom made camera I was able to negotiate time and space to create visual drawings that talk to both choreography and fine art practice.

Le geste cinématographique de performance : documenter et concrétiser l’espoir

En partant de la documentation filmique de deux performances (Da ist eine kriminelle Berührung in der Kunst [Ulay, 1976] et Data [Gagnon, 2010]) qui a comme particularité commune d’avoir été soumise à des manœuvres cinématographiques, ce mémoire élabore une théorisation permettant de les penser autrement qu’en tant que documents, mais en tant que films, et plus précisément en tant qu’œuvres esthétiques complémentaires à la performance d’origine. Tombant dans une béance théorique par le fait de leur hybridité supposément contradictoire (performance, éphémère/cinéma, préservation), les deux films nous invitent à penser une conceptualisation renouvelée de la performance. Depuis cette perspective, nous démontrerons que, si le geste de performance est lui-même enchâssé dans le geste cinématographique, c’est en fonction de cette co-constitution des œuvres qu’il faut les aborder : en plus de référer à un contenu performatif, ces films performent une réalité inachevée, en termes de classification théorique mais aussi en termes de valeur politique. Nous verrons finalement qu’à travers le thème fédérateur du détournement artistique, pensé dans un rapport critique des institutions culturelles, les deux œuvres ont pour visée une transformation qui a pour but l’établissement de nouveaux rapports sociaux et politiques. Ultimement, nous défendrons que cette intervention à même une structure sociale établie ne soit possible que si la performance d’origine est présentée cinématographiquement, par le concept du geste cinématographique de performance.

Tensions in (re)presenting the self in reflexive autoethnographical research

The purpose of this paper is to explore a number of tensions arising in the presentation of autoethnographical research. The paper provides a reflexive autoethnographical account of undertaking and publically presenting autoethnographical research. The paper problematises the extent and form of disclosure; the voice and representation of the researcher; the difficulties in dealing with sensitive subjects; conflicts between public and private domains; questions of validity; the extent and form of theorisation of autoethnographical narratives; and emotion and performativity in presenting autoethnographical research. The paper provides an analysis of the potential of autoethnography, while exploring the presentational and performative context of academia. © 2011, Emerald Group Publishing Limited.

Le geste cinématographique de performance : documenter et concrétiser l’espoir

En partant de la documentation filmique de deux performances (Da ist eine kriminelle Berührung in der Kunst [Ulay, 1976] et Data [Gagnon, 2010]) qui a comme particularité commune d’avoir été soumise à des manœuvres cinématographiques, ce mémoire élabore une théorisation permettant de les penser autrement qu’en tant que documents, mais en tant que films, et plus précisément en tant qu’œuvres esthétiques complémentaires à la performance d’origine. Tombant dans une béance théorique par le fait de leur hybridité supposément contradictoire (performance, éphémère/cinéma, préservation), les deux films nous invitent à penser une conceptualisation renouvelée de la performance. Depuis cette perspective, nous démontrerons que, si le geste de performance est lui-même enchâssé dans le geste cinématographique, c’est en fonction de cette co-constitution des œuvres qu’il faut les aborder : en plus de référer à un contenu performatif, ces films performent une réalité inachevée, en termes de classification théorique mais aussi en termes de valeur politique. Nous verrons finalement qu’à travers le thème fédérateur du détournement artistique, pensé dans un rapport critique des institutions culturelles, les deux œuvres ont pour visée une transformation qui a pour but l’établissement de nouveaux rapports sociaux et politiques. Ultimement, nous défendrons que cette intervention à même une structure sociale établie ne soit possible que si la performance d’origine est présentée cinématographiquement, par le concept du geste cinématographique de performance.

Dont look back

The award-winning film Don't Look Back (1967) captures Bob Dylan on tour and on the cusp of change in 1965. Dylan was rapidly shedding his image as a folk musician and being reborn as a rock persona – and D. A. Pennebaker was there to record this fascinating transformation.This insightful book charts the ways in which Pennebaker revised aspects of observational 'direct cinema', a style of film-making that he helped to pioneer, in order to represent in innovative ways Dylan's onstage performances and backstage actions. Keith Beattie's perceptive and nuanced analysis explains the relationship between 'pose' and the performative presentation of 'persona', which forms the basis of the film's portrayal, and explores Pennebaker's relationship with Dylan in the film-making process. In doing so, the book highlights many remarkable moments fromDont Look Back and demonstrates how this landmark film eschewed the informationalism of the documentary form, revealing a captivating portrait of its beguiling subject.

School collaborations within the contemporary English education system: possibilities and constraints

This paper’s focus is on an alliance of schools in England that came together as part of the National Teaching Schools initiative. Drawing on interviews from Head Teachers within the alliance, the paper explores issues of school collaboration from a premise that such collaboration is paramount to school improvement within the current climate of increased school autonomy and increasingly rigid accountabilities. The Head Teachers highlight key factors that supported effective school-to-school collaborations associated with sharing their expertise and fostering active and cooperative connections. They also, however, highlight factors that undermined genuine collaboration associated with a prioritising of the performative demands and economic imperatives of the audit culture. The impact of this prioritising should, it is argued, be considered in any analysis of school collectives within the current English education system – particularly given their proliferation and the responsibility placed on them in terms of school improvement.

‘It’s like Spiderman… with great power comes great responsibility’: school autonomy, school context and the audit culture

This paper explores issues of school autonomy within the context of the performative demands of the audit culture. The focus is on a case study of Clementine Academy, a large and highly diverse English secondary school. Specific situated, professional, material and external factors at the school were significant in shaping Clementine’s response to and take-up of the policy of academisation (a key reform within broader government mandates to create an increasingly autonomised education system). Factors such as the school’s intake and history, its ethos and values, its access to human and economic resources and its status and power as an outstanding school supported its confident and ‘morally’ focused take-up of this policy. Clementine’s privileged position in relation to these factors enabled the school to mediate and challenge some of the negative effects of the audit culture. This paper highlights the significance of considering these contextual factors in understanding the different ways in which schools are currently engaging their autonomy to cope with the demands of the audit culture.

Shaping and being shaped: extending the relationship between habitus and practice

This chapter extends understandings of the contributions of practice in re/forming the habitus. In Bourdieu’s account, an agent’s practices are thought to reflect his or her habitus: that system of dispositions operating at the level of pre-thought or un-thought and expressed in tendencies and inclinations to think and act in certain ways under certain conditions. Evidence of the habitus can be 'read' from practice. The shaping and re-shaping of the habitus involves practices of family and community (primary pedagogic work) and of social institutions (secondary pedagogic work), in any given field. However, Bourdieu also describes habitus as constantly evolving and the outcome of past practices. This raises questions about the conditions under which an agent’s field-specific practices might, in time, influence the shaping of their habitus, leading either to a feel-for or a rejection of the dominant game that defines the field. The chapter explores these issues within the context of formulaic approaches to research production in higher education. It asks whether the practices required of academics in order to comply with conditions of the field are merely a performative response or whether they might also have a deeper role in the reshaping of the individual and collective academic habitus?

Cultural, religious and political contestations: the multicultural challenge

This book examines the foundations of multiculturalism in the context of émigré societies and from a multi-dimensional perspective. The work considers the politics of multiculturalism and focuses on how the discourse of cultural rights and intercultural relations in western societies can and should be accounted for at a philosophical, as well as performative level. Theoretical perspectives on current debates about cultural diversity, religious minorities and minority rights emerge in this volume. The book draws our attention to the polarised nature of contemporary multicultural debates through a well-synthesised series of empirical case studies that are grounded in solid epistemological foundations and contributed by leading experts from around the world. Readers will discover a fresh re-examination of prominent multicultural settings such as Canada and Australia but also an emphasis on less examined case studies among multicultural societies, as with New Zealand and Italy. Authors engage critically and innovatively with the various ethical challenges and policy dilemmas surrounding the management of cultural and religious diversity in our contemporary societies. Comparative perspectives and a focus on core questions related to multiculturalism, not only at the level of practice but also from historical and philosophical perspectives, tie these chapters from different disciplines together. This work will appeal to a multi-disciplinary audience, including scholars of political philosophy, sociology, religious studies and those with an interest in migration, culture and religion in contemporary societies.

Some of these girls can be real drama queens : issues of gender, sexual harassment and schooling

Since the 1970s many feminists working for gender justice in education have highlighted the predominance and seriousness of sexual harassment in schools and condemned the enduring trivialization of such behaviours. This paper develops this body of work by focusing on how issues of sexual harassment are located within prevailing contemporary western educational contexts that position boys as 'victims' of feminism and 'girl-friendly' schooling. It is argued here that such contexts draw attention away from the powerful spaces that many boys continue to inhabit in schools. Counter to the popular notion that girls no longer face problems in relation to their schooling, the paper foregrounds the voices of four (14-year-old) Grade Eight girls from Tasmania, Australia who detail their disturbing experiences of sexual harassment. Pointing to the grave inadequacies of common remedies used to address these behaviours, such as prescriptive discipline systems that ignore issues of gender and power and boy-friendly remedies that collude in the perpetuation of inequitable gender relations, the paper highlights the imperative of disrupting the erasure of these issues from current dominant equity debates and the urgency of better addressing this problem in schools. Along these lines, the paper calls for teacher practice that acts against the grain of broader anti-feminist and performative school cultures to transform the masculinities of entitlement that contribute to these unacceptable behaviours.

Fabricating an identity in neo-liberal times: performing schooling as ‘number one’

This paper presents interview data from a case study of ‘Lemontyne College’; a large government school situated in a ‘master planned community’ (MPC) in Australia. The paper draws on Ball’s (2003) theorising of performativity and fabrication to analyse this school’s take up of the status‐oriented corporate discourses of performance, competition and accountability. This theorising brings to light the ways in which the managerial processes at the school, driven by the administration’s embracing of these discourses, shape Lemontyne into an auditable commodity and fabricate an identity around being ‘number 1’. The paper highlights the lack of authenticity of this fabrication by drawing attention to its careful and deliberate construction. Our focus here is on the surveillance and accountability measures required to discipline teachers into this performative sociality and on the alternative reality articulated by teachers in terms of their resistance to this sociality. To these ends, the paper highlights how Lemontyne’s embracing of performative discourses results in a de‐socialisation of schooling relations. We propose that such de‐socialisation compromises efforts in schools to respond productively to social change and in particular to the new equity challenges arising in contexts such as Lemontyne situated in a MPC.

‘Some of those girls can be real drama queens’: issues of gender, sexual harassment and schooling

Since the 1970s many feminists working for gender justice in education have highlighted the predominance and seriousness of sexual harassment in schools and condemned the enduring trivialization of such behaviours. This paper develops this body of work by focusing on how issues of sexual harassment are located within prevailing contemporary western educational contexts that position boys as ‘victims’ of feminism and ‘girl‐friendly’ schooling. It is argued here that such contexts draw attention away from the powerful spaces that many boys continue to inhabit in schools. Counter to the popular notion that girls no longer face problems in relation to their schooling, the paper foregrounds the voices of four (14‐year‐old) Grade Eight girls from Tasmania, Australia who detail their disturbing experiences of sexual harassment. Pointing to the grave inadequacies of common remedies used to address these behaviours, such as prescriptive discipline systems that ignore issues of gender and power and boy‐friendly remedies that collude in the perpetuation of inequitable gender relations, the paper highlights the imperative of disrupting the erasure of these issues from current dominant equity debates and the urgency of better addressing this problem in schools. Along these lines, the paper calls for teacher practice that acts against the grain of broader anti‐feminist and performative school cultures to transform the masculinities of entitlement that contribute to these unacceptable behaviours.

Participación de gais y lesbianas en la esfera pública en Quibdó: de la fiesta de san pacho al reconocimiento estatal

Esta investigación busca analizar las distintas formas a través de las cuales las personas gais y lesbianas de Quibdó lograron una visibilización en la esfera pública de su ciudad. Este proceso será visto en diferentes escenarios. Primero, en la participación en espacios culturales como San Pacho, shows y reinados de belleza. Segundo, en el activismo realizado por la Fundación Ébano Diverso, que ha logrado abrir espacios de diálogo con instancias como la Alcaldía de Quibdó y la Gobernación del Chocó. Finalmente, se verá cómo la creación de tejidos familiares y afectivos está relacionada con su activismo y las formas distintas de visibilizarse.

Espectáculo de identidades nacionales. Presentación de Colombia en las Exposiciones Internacionales de 1992, 1998, 2010

El presente documento analiza como el Estado colombiano ha querido crear una identidad nacional en tres Exposiciones Internacionales a partir de representaciones elaboradas con un discurso entre político, comercial y cultural, generando imágenes que no siempre concuerdan con la realidad.