Democracy's Body, Neoliberalism's Body: The Ambivalent Search for Egalitarianism Within the Contemporary Post/Modern Dance Tradition

Abstract

This article analyzes ways in which dance as labor and artist as a specific subjectivity relate to the material conditions of their production within contexts shaped by neoliberal notions of freedom, ideologies of liberal democracy, and the logic of global capitalism. The discussion focuses on contemporary dance practices that embody some of these values by striving to be more egalitarian, thus giving performers more agency in how they participate in creative processes that lead to a collectively created performance work. This analysis emphasizes the tension between these collaborative practices and modes of producing and distributing financial and symbolic, as well as cultural forms of capital in ways that resist and/or reproduce exploitative aspects of capitalism. Examining some works by Yvonne Rainer, Xavier Le Roy, and Tino Sehgal enables the theorization of the entrepreneurial artistic archive as well as practices of crediting creative labor in relation to notions of capital, ownership, collaboration, and consequently who dance-art makers and performers become as politically progressive artists.

K-pop boot camps in choreographic co-creative labor

“…S. Park, 2013; Williams & Ho, 2016; Wozny, 2010). On one hand, the reproducibility of these manufactured performances underlines the absence of historical authenticity or “aura” (Benjamin, 1969; Reynoso, 2019). On the other hand, K-pop fandom has been critically acknowledged as relatively autonomous communities, mobilizational networks and creative cultures (Lee, 2015; Liew, 2013; Sun, 2011).…”