Queer, crip live art in the post 'trans tipping point' era: an archive of affect

后“跨性别临界点”时代的酷儿、残障现场艺术：情感档案

• 批准号: 2301310
• 金额: --
• 依托单位: Kingston University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2301310
• 关键词: Queer; crip; live; art; post

Combining social science and performance methods and theory, this interdisciplinary research centres ongenerating new methods of historicisation and theorisation of spectatorship through an intersectionalcritical queer, trans- and disability-inclusive conceptual lens. This project applies affect theory and sensoryethnography to analyse live art by disabled, queer, trans- or gender-non conforming (DQTGNC) artists inthe United Kingdom, documenting live art in the post 'trans-tipping point' era.TIME magazine's 2014 heralding of a 'tipping point' for transgender civil rights exposed trans and gender non-conforming lives to unprecedented public visibility, legal scrutiny and debate. While equality, inclusivity,diversity and accessibility appear in mainstream discourse, the UK's Equality Act (2010) paradoxicallypreceded a year-on-year increase in recorded cases of hate crime based on protected characteristics suchas gender identity, sexuality and disability (ONS 2017). This suggests that visibility is no panacea fordiscrimination. In this context, in/visibility and accessibility will underpin this critical analysis of how live artcan address and counter the historical invisibility of DQTGNC people and their ongoing marginalisation.Tracing intersections of critical 'crip' and queer theoretical stances in inclusive, accessible live art by queerand disability-led research partners Culture Device, Vital xposure, Raze Collective and Southbank CentreUnlimited Festival, this ethnographic research will provide a basis to investigate normative notions ofembodiment and to theorise the roles of affect and activism in contemporary live art. The overall objectiveis to unpack how and why disidentified live art, which neither assimilates nor strictly opposes dominantcultures (Muñoz 1999) can operate as an oppositional gaze (hooks 2003), as provocations, acts of resistanceand of survival. The resultant archive of live art performances by disabled, queer performers in the UK,centred on the affective, sensory crip-identified experience of the spectator will propose new praxis toinfluence the future of live art production.

结合社会科学和表演方法和理论，这一跨学科的研究中心通过一个跨学科的关键酷儿，跨和残疾包容性的概念透镜产生历史化和理论化的新方法。该项目运用情感理论和感觉人种学来分析英国残疾人、酷儿、跨性别或性别不一致（DQTGNC）艺术家的现场艺术，记录后“跨临界点”时代的现场艺术。《时代》杂志2014年宣布跨性别公民权利的“临界点”，将跨性别和性别不一致的生活暴露在前所未有的公众视野、法律的审查和辩论中。虽然平等，包容性，多样性和可访问性出现在主流话语中，但英国的平等法案（2010）矛盾地减少了基于性别认同，性和残疾等受保护特征的仇恨犯罪案件的逐年增加（ONS 2017）。这表明可见度不是消除歧视的灵丹妙药。在这种情况下，在/可见性和可访问性将巩固这一批判性分析如何活的艺术可以解决和反击的历史无形的DQTGNC人民和他们正在进行的边缘化。跟踪交叉点的关键'瘸子'和酷儿的理论立场，在包容性，可访问的现场艺术由酷儿和残疾人主导的研究合作伙伴文化设备，重要xandroid，Raze集体和南岸中心无限节日，这一民族志研究将提供一个基础，以调查规范性的概念，体现和理论化的作用，影响和行动主义在当代生活艺术。总的目标是解开如何和为什么disidentified生活艺术，既不吸收也不严格反对占主导地位的文化（Muñoz 1999）可以作为一种对立的凝视（hooks 2003），作为挑衅，抵抗和生存的行为。由此产生的档案现场艺术表演的残疾人，同性恋表演者在英国，集中在情感，感官残疾识别的经验，观众将提出新的实践，以影响未来的现场艺术生产。