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PERFORMANCE THEORY: The “Studies Protocols” of Performance Studies
This book explores the experience of dehumanization as the privation of speech. Taking up the figure of silence as the space between human and animal, it traces the potential for an alternate political and ethical way of life beyond law. Employing the resources offered by deconstruction as well as an ontological critique of biopower, this book suggests that humAnimal, as the site of impropriety opened by racism and manifested by silence, can be political and hazardous to power. Through the lens of such works as Coetzee’s Foe, Chesnutt’s “The Dumb Witness,” Dr. Itard’s “wild child,” and aerialist Philippe Petit’s Man on Wire, this book brings Derrida’s concept of the trace and his theory of sovereignty into conversation with Agamben’s investigation of the analytics of power. The task is twofold: on the one hand, to question the logocentric presumption that determines the separation between human and animal, and on the other to examine the conflation of this separation as an instrument of power in the practice of racism. The book details the differences and intersections between Derrida and Agamben in their respective approaches to power, claiming that to think simultaneously within the registers of deconstruction (which conceives of power as a symptom of the metaphysics of presence) and biopolitics (which conceives of power as the operation of difference) entails a specification of the political and ethical consequences that attends the two perspectives. When considered as the potential of language to refuse the law of signification and semantics, silence can neutralize the exercise of power through language, and this book’s inquiry discloses a counterpower that does not so much oppose or destroy the politics of the subject but rather neutralizes it and renders it ineffective.
In 1761 and again in 1769, European scientists raced around the world to observe the transit of Venus, a rare astronomical event in which the planet Venus passes in front of the sun. This book explores how indigeneity functions as transit, a trajectory of movement that serves as precedent within U.S. imperial history. The book argues that contemporary U.S. empire expands itself through a transferable “Indianness” that facilitates acquisitions of lands, territories, and resources. Examining an array of literary texts, historical moments, and pending legislations-from the Cherokee Nation of Oklahoma’s vote in 2007 to expel Cherokee Freedmen to the Native Hawaiian Government Reorganization bill—the book demonstrates that inclusion into the multicultural cosmopole does not end colonialism as it is purported to do. Rather, that inclusion is the very site of the colonization that feeds U.S. empire. The book contends that the colonization of American Indian and indigenous nations is the necessary ground from which to reimagine a future where the losses of indigenous peoples are not only visible and, in turn, grieveable, but where indigenous peoples have agency to transform life on their own lands and on their own terms.
Becoming Human: Matter and Meaning in an Antiblack World demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Rather than applying a pre-given philosophical framework to literature and visual culture, Becoming Human provides a model for reading African diasporic literature and visual art for the philosophical premises, interventions, and implications of these forms and traditions. Becoming Human argues that African diasporic cultural production does not coalesce into a unified tradition that merely seeks inclusion into the dominant conception of “the human” but, rather, frequently alters the meaning and significance of being (human) and engages in imaginative practices of worlding from the perspective of a history of blackness’s bestialization and thingification: the process of imagining a black person as an empty vessel, a nonbeing, a nothing, an ontological zero, coupled with the violent imposition of colonial myths and racial hierarchy. In complementary but highly distinct ways, the literary and visual texts in Becoming Human articulate being (human) in a manner that neither relies on animal denigration nor reestablishes liberal humanism as the authority on being (human). What emerges from this questioning is a radically unruly sense of being/knowing/feeling existence, one that necessarily ruptures the foundations of the current hegemonic mode of “the human.”
Until the 1990s, the discipline of art history, as developed in Europe and North America from the nineteenth century onward, refused to acknowledge the crucial role of the body in the production and reception of works of art. Art history and its discursive and institutional corollaries, the art gallery, the auction house, and much of art criticism, thus systematically ignored the body, even (after 1960) in the face of the development of an explosive interest in representing, enacting, or otherwise foregrounding the body as central to the experience of visual culture. This chapter addresses why this was the case and explores how shifting emphases on the body in the production and reception of visual arts practices in the post-Second World War period insistently wore away at the occlusion of the body in art discourses and institutions. It will then examine the fact that, in the 1990s, a new generation of art historians and critics had began to theorize the central importance of the body as a crucial matrix, ground, and activating source for meaning and value in the visual arts and visual culture in general. The suppression or erasure of the live or inhabited body in institutionalized versions of art discourse and in art institutions has a long history in Euro-American culture.
This book was first published in 2010. Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights. The dynamic relationship between performance and activism are illustrated in three case studies: Act One presents a battle between tradition and modernity as the bodies of African women are caught in the cross-fire. Act Two focuses on 'water democracy' as activists fight for safe, accessible public water as a human right. Act Three examines the efficacy of street performance and theatre for development in the oral histories of Ghanaian gender activists. Unique to this book is the continuing juxtaposition between the everyday performances of local activism and their staged enactments before theatre audiences in Ghana and the USA. Madison beautifully demonstrates how these disparate sites of performance cohere in the service of rights, justice, and activism.
- DeFrantz Thomas F.