{"title":"Dancing in the rain","authors":"Dorinne Kondo","doi":"10.1177/09213740221075657","DOIUrl":null,"url":null,"abstract":"Worldmaking is a genre-bending ethnographic/theoretical analysis of labor and race-making in the US theater industry, grounded in Kondo’s full participation in theater as anthropologist, performance studies scholar, dramaturg and playwright. The narrative trajectory toward what Kondo calls “reparative creativity,” inspired by Kleinian theory and its appropriations in queer of color critique, grounds her analysis of the work of artists of color Anna Deavere Smith, David Henry Hwang, and her own full-length play. She disrupts the theory/ practice binary by spotlighting creative labor and race-making, and destabilizes the personal/structural divide through her concepts of “racial affect” and “affective violence.” Theater and the arts are more than second-order representation; they are zones of public existence. Kondo locates shared themes of destruction/creation, genre-bending, and embodiment/ affect/ movement as she “dances in the rain” with her interlocutors Joshua Chambers-Letson and Aimee Cox.","PeriodicalId":43944,"journal":{"name":"CULTURAL DYNAMICS","volume":"34 1","pages":"112 - 118"},"PeriodicalIF":0.5000,"publicationDate":"2022-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"CULTURAL DYNAMICS","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/09213740221075657","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"SOCIAL SCIENCES, INTERDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Worldmaking is a genre-bending ethnographic/theoretical analysis of labor and race-making in the US theater industry, grounded in Kondo’s full participation in theater as anthropologist, performance studies scholar, dramaturg and playwright. The narrative trajectory toward what Kondo calls “reparative creativity,” inspired by Kleinian theory and its appropriations in queer of color critique, grounds her analysis of the work of artists of color Anna Deavere Smith, David Henry Hwang, and her own full-length play. She disrupts the theory/ practice binary by spotlighting creative labor and race-making, and destabilizes the personal/structural divide through her concepts of “racial affect” and “affective violence.” Theater and the arts are more than second-order representation; they are zones of public existence. Kondo locates shared themes of destruction/creation, genre-bending, and embodiment/ affect/ movement as she “dances in the rain” with her interlocutors Joshua Chambers-Letson and Aimee Cox.
《世界制造》是对美国戏剧行业中劳动和种族制造的一种类型的民族志/理论分析，基于近藤作为人类学家、表演研究学者、戏剧导演和剧作家对戏剧的全面参与。近藤所谓的“修复性创造力”的叙事轨迹，受到Kleinian理论及其在酷儿色彩批评中的运用的启发，为她分析有色艺术家安娜·迪维尔·史密斯(Anna Deavere Smith)、大卫·亨利·黄(David Henry Hwang)的作品以及她自己的长篇戏剧奠定了基础。她通过强调创造性劳动和种族制造打破了理论/实践的二元对立，并通过她的“种族影响”和“情感暴力”概念打破了个人/结构的鸿沟。戏剧和艺术不仅仅是二阶表现;它们是公共存在的区域。近藤在与对话者约书亚·钱伯斯-莱森和艾米·考克斯“在雨中跳舞”时，找到了破坏/创造、流派扭曲、体现/影响/运动的共同主题。
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Our Editorial Collective seeks to publish research - and occasionally other materials such as interviews, documents, literary creations - focused on the structured inequalities of the contemporary world, and the myriad ways people negotiate these conditions. Our approach is adamantly plural, following the basic "intersectional" insight pioneered by third world feminists, whereby multiple axes of inequalities are irreducible to one another and mutually constitutive. Our interest in how people live, work and struggle is broad and inclusive: from the individual to the collective, from the militant and overtly political, to the poetic and quixotic.
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