Walking the Wall and Crossing the Threshold: Angela Tiatia, Kalisolaite ‘Uhila and Shigeyuki Kihara’s Counter-Hegemonic Choreographies

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Explores performances by Pasifika artists: Angela Tiatia, Kalisolaite ‘Uhila and Shigeyuki Kihara. Wynne-Jones offers a much-needed summary of Pacific bodies performing and creating interventions in museums and contemporary art gallery spaces in Aotearoa New Zealand. Focussing on the relations activated by such artworks, an examination of Louise Tu’u’s thesis of performance as a processual tool for drawing audiences into the dis-ease of social relations precedes Linda Tuhiwai Smith’s decolonising methodologies and how these can be applied to choreographies and performance art practice. The chapter draws attention to Chloe Weaver’s argument that the relational space of the vā has resonances with Nicholas Bourriaud’s relational aesthetics. “Walking the wall and crossing the threshold” concludes with a discussion of whether performance artworks taking place in museums of art should be considered decolonising or counter-hegemonic.

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One could easily argue that Pacific research methodologies (PRM) and Pacific relational ethics (PRE) are not new: a genealogy of approach would take one back to the ancient Pacific philosophers and practitioners of ancient indigenous knowledges—indeed back to Tagaloa-a-lagi and the 10 heavens. However, in the last two decades, there has been a renaissance of PRM and PRE taken up by Pacific researchers based in New Zealand and the wider Pacific to counter the Western hegemonic tradition of how research is carried out and why—especially research involving Pacific people, families, and communities. In the diaspora, as ethnic minorities and in their island homes, as Third World nations, Pacific peoples and communities are struggling to survive in contexts of diasporic social marginalization and a neocolonial globalizing West. So there is a need to take stock of what contemporary expressions of PRM and PRE are, how they have developed, and why they are needed. This renaissance seeks to decolonize and reindigenise research agendas and research outputs by doing research based on Pacific indigenous theories, PRM, and PRE. It demands that research carried out with Pacific peoples and communities is ethical and methodologically sound with transformational outputs. In reality, the crisis in Pacific research is the continuing adherence to traditional Western theories and research methods that undermine and overshadow the va—the sacred, spiritual, and social spaces of human relationships between researcher and researched that Pacific peoples place at the center of all human/environment/cosmos/ancestors and animate/inanimate interactions. When human relationships are secondary to research theories and methods, the research result is ineffective and meaningless and misinforms policy formation and education delivery, thereby maintaining the inequitable positioning of Pacific peoples across all demographic indices, especially in the field of Pacific education. The Samoan indigenous reference of teu le va, which means to value, nurture, and care for (teu) the secular/sacred and social/spiritual spaces (va) of all relationships, and Teu le Va , the Ministry of Education research guideline, both evoke politicians, educational research institutions, funders, and researchers to value, nurture, and, if necessary, tidy up the va. In a troubling era of colonizing research methodologies and researcher nonaccountability, Pacific educational researchers can take inspiration from a range of philosophical theorizing based on the development of a suite of PRMs. Keywords: Pacific methodologies, va, teu le va, relational ethics, relational accountability, relational responsibility
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This article proposes that the propagation of vibrations could serve as a better model for understanding the transmission of affect than the flow, circulation or movement of bodies by which it is most often theorized. The vibrations (or idiomatically ‘vibes’) among the sound system audience (or ‘crowd’) on a night out on the dancehall scene in Kingston, Jamaica, provide an example. Counting the repeating frequencies of these vibrations in a methodology inspired by Lefebvre’s rhythmanalysis results in a Frequency Spectrogram. This ranges from the sociocultural frequencies of nightly, weekly and seasonal cycles and circulations of musical style and fashion, to the material frequencies of the amplitudes and timbres of sound itself, with reggae’s signature low-pitched bass-line, to the corporeal frequencies of the flesh and blood of the dancehall ‘crowd’, pulsating with heartbeats and kinetic dance rhythms. The vibration model then addresses the intensities of affect in terms of auditory amplitudes, as with sonic dominance; feelings as frequencies; and the distinctive meaning of affect as timbre. This aims to encourage the radical impulse of the idea of affect to abandon the traditional envelope of the autonomous, self-consistent, rational individual. The meaning of affect is thus located in the ratio, proportions and patterning of vibrations, that is, outside the discourse of emotions or representation of feelings.
Women continue to be extremely under-represented in the architectural profession. Despite equal numbers of male and female students entering architectural studies, there is at least 17-25% attrition of female students and not all remaining become practicing architects. In both the academic and the professional fields of architecture, positions of power and authority are almost entirely male, and as such, the profession is defined by a heterosexual, Eurasian male perspective. This book argues that it is vital for all architectural students and practitioners to be exposed to a diversity of contemporary architectural practices, as this might provide a first step into broadening awareness and transforming architectural engagement. It considers the relationships between feminist methodologies and the various approaches toward design and their impact upon our understanding and relationship to the built environment. In doing so, this collection challenges two conventional ideas: firstly, the definition of architecture and secondly, what constitutes a feminist practice. This collection of up and coming female architects and designers use a wide range of local and global examples of their work to question different aspects of these two conventional ideas. While focusing on feminist perspectives, the book offers insights into many different issues, concerns and interpretations of architecture, proposing through these types of engagement, architecture can become more culturally, politically and environmentally relevant. This 'next generation' of architects claim feminism as their own and through doing so, help define what feminism means and how it is evolving in the 21st century.
"This is an urgently needed book - as the question of choreographing behavior enters into realms outside of the aesthetic domains of theatrical dance, Susan Foster writes a thoroughly compelling argument." - André Lepecki, New York University "May well prove to be one of Susan Foster's most important works." - Ramsay Burt, De Montford University, UK What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. Foster examines the relationships between three central components in the experience of watching a dance - the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.
The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to situate this body within the colonial and expansionist politics of its historical moment.
Obra teórica de una sociología de las asociaciones, el autor se cuestiona sobre lo que supone la palabra social que ha sido interpretada con diferentes presupuestos y se ha hecho del mismo vocablo un nombre impreciso e inadecuado, además se ha materializado el término como quien nombra algo concreto, de manera que lo social se convierte en un proceso de ensamblado y un tipo particular de material. Propone retomar el concepto original para hacer las debidas conexiones y descubrir el contenido estricto de las cuestiones que están conectadas bajo la sociedad.
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