By Ramsay Burt

Ungoverning Dance examines the paintings of revolutionary modern dance artists in continental Europe from the mid Nineteen Nineties to 2015. putting this in the context of neoliberalism and austerity, the publication argues that those artists have constructed an ethico-aesthetic method that makes use of dance practices as websites of resistance opposed to dominant ideologies, and that their works attest to the endurance of other methods of considering and dwelling. according to the way in which that the unconventional values informing their paintings are regularly below assault from neoliberalism, those artists know that they in impact percentage universal pool assets. therefore, whereas modern dance has been changed into a industry, they however worth the level to which it features as a commons. paintings that does this, it argues, ungoverns dance.

The ebook bargains shut readings of works from the Nineties and 2000s via generations of European-based dance artists: that of Jérôme Bel, Jonathan Burrows, los angeles Ribot, and Xavier Le Roy who all started displaying paintings within the Nineteen Nineties; and that of artists who emerged within the 2000s together with Fabián Barba, Faustin Linyekula, Ivana Müller, and Nikolina Pristas. themes tested comprise dance and precarious lifestyles, choreographing friendship, re-performance, the digital in dance, and a dancer's adventure of the Egyptian revolution. Ungoverning Dance proposes new methods of knowing contemporary modern eu dance works through making connections with their social, political, and theoretical contexts.

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13 Noting how people were living and working in New York, Paxton observed that they seemed to sit all day, at work, in the subway, or watching television in the evening, occasionally getting up and walking a little. 14 Modern city life made people unaware of how little they used their bodies. Paxton believed that through practices like contact improvisation people could utilise more of their individual potential for movement and live more authentic lives. In the 1970s both Deborah Hay and Steve Paxton left New York City to live in the countryside in a dancers’ and artists’ commune at Mad Brook Farm in northeastern Vermont.

41 Transatlantic Comparisons 41 The main differences between Foster and Lepecki’s analyses derive from their particular interests. Foster was concerned with what happened in the United States to the radical choreographic innovations partly initiated by dancers associated with Judson Dance Theater, and consolidated and developed by artists in the 1970s and 1980s, many of whom were working collectively. Lepecki was primarily interested in what had been happening in Europe during the 1990s and why something similar had not also been developing in the United States.

Martin (London: Tavistock, 1988), 19. 61 In the period covered by this book it is neoliberal ideology that could be said to disturb the balance. Acts of ungoverning in this context are positive. What the dance works discussed in this book are ungoverning, following Foucault, is the governmentality of dance as an institution, or, to put it another way, the controlling effects that the institution applies through the dance market and through its effects on individual self-​management. Using aesthetic means, dance artists can ungovern the processes that have the effect of enclosing or privatising common-​pool resources.

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