Haunting Dreams of a Wild Future OR What Children have to Teach us about Politics
(2018) In Performance Research 23(1). p.91-97- Abstract
- In the last years we have witnessed an increased number of experimental performances that engage with children. Shows made in collaboration and/or performed by children. Children on stage, children as our tour guides through cities, children leading us though darkness. There are many ways to analyze this ‘interest’ including curatorial schemes encouraging participation, funding agendas, institutional logistics and so no. However, I would argue that crucially this ‘interest’ offers a fruitful way to engage with current political imaginaries. After the ‘social turn’ in the arts since the 1990s and the ‘political turn’ post 2007 what radical imaginaries performance practice can produce at this moment in time? What methods children bring into... (More)
- In the last years we have witnessed an increased number of experimental performances that engage with children. Shows made in collaboration and/or performed by children. Children on stage, children as our tour guides through cities, children leading us though darkness. There are many ways to analyze this ‘interest’ including curatorial schemes encouraging participation, funding agendas, institutional logistics and so no. However, I would argue that crucially this ‘interest’ offers a fruitful way to engage with current political imaginaries. After the ‘social turn’ in the arts since the 1990s and the ‘political turn’ post 2007 what radical imaginaries performance practice can produce at this moment in time? What methods children bring into contemporary performance making? Why experimental performance ‘needs’ children and what that reveals about the temporalities of our political and social conditions? In this article, I will theorize on children, performance and radical imaginaries as a way to discuss the political dead-end of collective struggles in the years post 2011. I will propose that children in performance sketch a glimpse of an ‘elsewhere or an otherwise’ in an era when ‘the given is a prison’ (cited in Gordon, 2004:116). An elsewhere that cannot be realized within the established social order, an otherwise that has been rejected as ‘bad facticity, not real, not possible, mere utopia’ (Gordon, 2004). Witnessing children on stage mis-perform, we witness the attempts of dominance and at the same time the breaks, failures and (mis)operations of the societal ‘sub-power’ (Castoriadis, 1998)–moments of a fugitive elsewhere. I will argue that children on stage ephemerally institute an elsewhere to our current condition contesting visions of normative futurity–‘where the children will be our future’ (Munoz, 2009:49)–by becoming the ‘examples of the things we are and do that exceed … what’s dominant and dominating us’ (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/c7e9712b-b14d-4337-ac22-5daac3f6692b
- author
- Argyropoulou, Gigi LU
- publishing date
- 2018
- type
- Contribution to journal
- publication status
- published
- subject
- in
- Performance Research
- volume
- 23
- issue
- 1
- pages
- 6 pages
- publisher
- Taylor & Francis
- external identifiers
-
- scopus:85048867195
- ISSN
- 1352-8165
- DOI
- 10.1080/13528165.2018.1460451
- language
- English
- LU publication?
- no
- id
- c7e9712b-b14d-4337-ac22-5daac3f6692b
- date added to LUP
- 2023-10-27 18:46:43
- date last changed
- 2023-11-07 15:51:14
@article{c7e9712b-b14d-4337-ac22-5daac3f6692b,
abstract = {{In the last years we have witnessed an increased number of experimental performances that engage with children. Shows made in collaboration and/or performed by children. Children on stage, children as our tour guides through cities, children leading us though darkness. There are many ways to analyze this ‘interest’ including curatorial schemes encouraging participation, funding agendas, institutional logistics and so no. However, I would argue that crucially this ‘interest’ offers a fruitful way to engage with current political imaginaries. After the ‘social turn’ in the arts since the 1990s and the ‘political turn’ post 2007 what radical imaginaries performance practice can produce at this moment in time? What methods children bring into contemporary performance making? Why experimental performance ‘needs’ children and what that reveals about the temporalities of our political and social conditions? In this article, I will theorize on children, performance and radical imaginaries as a way to discuss the political dead-end of collective struggles in the years post 2011. I will propose that children in performance sketch a glimpse of an ‘elsewhere or an otherwise’ in an era when ‘the given is a prison’ (cited in Gordon, 2004:116). An elsewhere that cannot be realized within the established social order, an otherwise that has been rejected as ‘bad facticity, not real, not possible, mere utopia’ (Gordon, 2004). Witnessing children on stage mis-perform, we witness the attempts of dominance and at the same time the breaks, failures and (mis)operations of the societal ‘sub-power’ (Castoriadis, 1998)–moments of a fugitive elsewhere. I will argue that children on stage ephemerally institute an elsewhere to our current condition contesting visions of normative futurity–‘where the children will be our future’ (Munoz, 2009:49)–by becoming the ‘examples of the things we are and do that exceed … what’s dominant and dominating us’}},
author = {{Argyropoulou, Gigi}},
issn = {{1352-8165}},
language = {{eng}},
number = {{1}},
pages = {{91--97}},
publisher = {{Taylor & Francis}},
series = {{Performance Research}},
title = {{Haunting Dreams of a Wild Future OR What Children have to Teach us about Politics}},
url = {{http://dx.doi.org/10.1080/13528165.2018.1460451}},
doi = {{10.1080/13528165.2018.1460451}},
volume = {{23}},
year = {{2018}},
}