Decolonising Attention in and through Live Art.
This essay asks: What form of attention is sufficient or necessary for politico-aesthetic experimentation in and through live art? If live art threatens to destabilize the force, sense, and values naturalised by racial capital as human destiny, how have especially minoritized communities within live...
| Publicado en: | Contemporary Theatre Review Vol. 34; no. 3; pp. 342 - 359 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=182091412&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 182091412 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: Aug2024 vid: 34 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 182091412 10.1080/10486801.2024.2388029 ppf: 342 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 172KB tig: atl: Decolonising Attention in and through Live Art. aug: au: Rai, Amit S. su: Art Mental health Power (Social sciences) Leadership Arts Council England United Kingdom sug: subj: United Kingdom Art Mental health Power (Social sciences) Leadership Arts Council England keyword: attention ecology Black Lives Matter common notions decolonising perception live art ab: This essay asks: What form of attention is sufficient or necessary for politico-aesthetic experimentation in and through live art? If live art threatens to destabilize the force, sense, and values naturalised by racial capital as human destiny, how have especially minoritized communities within live art questioned the production of value regimes and resisted the effects of social and administrative 'hostility' undermining the conditions of mental health for 'surplus populations'? This paper argues that live art practice and organisation in the UK today is undergoing a volatile process of decolonising its forms and practices of attention. Linking the work of Black radical, decolonial and anti-extractivist scholarship to critical affect studies of attention eco-systems, I develop a decolonising genealogy of attention in live art. I consider action research conducted on the routines that constitute the lifeworlds of live art organisations and practitioners. Through decolonial, autonomist, transnational, queer, intersectional, affective, and feminist frames of interpretation in this domain, this essay will creatively encounter some key organisational routines of power, (emergent) leadership models, and structures of governance in UK live art practice. Focusing on narratives from participatory research with an Arts Council England's National Portfolio Organisation (NPO) as our main examples, I will show how live art practices are emerging to negotiate the state's top-down injunction for art organisations to develop diverse, extractive, impactful, entrepreneurial, and financialisable 'community engagement'. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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