Cia Rinne im Gespräch mit Claudia Benthien und Wiebke Vorrath

Benthien, Claudia; Klein, Gabriele

doi:10.30965/9783846761076_013

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“…When migrating between different cultural and social worlds, artists are required to engage in levels of translation: political, social, cultural, psychological, aesthetic, institutional, and economic levels. This text subsumes these transfer acts in the sociological and cultural-theoretical concept of translation as developed by translation studies (Stoll 2008; Buden and Nowotny 2008; Benthien and Klein 2017) and postcolonial studies (Bhabha 1994; Bachmann-Medick 2008; Spivak 2008). Translation is here understood as a basic tool, but also as a daily aesthetic practice of artistic work (Klein 2009; 2014; 2018): cultural and social experience is being translated into an aesthetic form, and the common process of work can therefore be understood as an ongoing process of translating.…”

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confidence: 97%

Artistic Work as a Practice of Translation on the Global Art Market: The Example of “African” Dancer and Choreographer Germaine Acogny

Klein¹

2019

Dance Res. J.

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Identity, difference, and translation are important theoretical concepts in the field of translation studies and postcolonial studies. It is a basic assumption of this text that aesthetic and cultural translation is exposed to the paradox of identity and difference and that this paradox is particularly evident in artistic performance practices such as dance and choreography. Focusing on the artistic work of choreographer and dancer Germaine Acogny (Senegal), the text addresses artistic translation practices under postcolonial conditions in the global art market of so-called “contemporary dance.” The aim is to illustrate how contradictory, hybrid, and fragmented the cultural and aesthetic translation process is, how the global art market shapes the artistic strategies of translation, and how aesthetic productivity lies in the impossibility of translating cultural experience artistically.

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confidence: 97%

Artistic Work as a Practice of Translation on the Global Art Market: The Example of “African” Dancer and Choreographer Germaine Acogny

Klein¹

2019

Dance Res. J.

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“…die allerdings auf religiöse Aspekte nicht vertiefend eingeht. Siehe auchBenthien/Wulf 2001, S. 20f. sowie Wulf 2001 Die hier angesprochene Topographie des Körpers steht in Zusammenhang mit anthropologischen Vorannahmen, die u. a. Platon ausformuliert hat.…”

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Körper-Kränkungen

2021

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Obwohl sich die natürliche Identität des menschlichen Körpers angesichts der Möglichkeiten technischer oder diskursiver Überformung zunehmend als Illusion erweist, bleibt er doch weiterhin Bezugspunkt und Ausdruck von Identitätsvorstellungen. Dabei kann der eigene Körper mit Gesten schmähend aktiv werden oder kann über vorgegebene Normen, denen er angeblich nicht entspricht, Erniedrigung erleiden. Ausgehend von solchen Überlegungen lotet dieser Band das invektive Potential des menschlichen Körpers aus historischer, gegenwartsbezogener und systematisch-konzeptueller Perspektive aus. Die Beiträge diskutieren Aspekte von Affizierbarkeit, Devianz und Geschlecht sowie Körpermetaphern, den pathologisierten Körper oder den Körper der Mächtigen. https://creativecommons.org/licenses/by-nc-nd/4.0

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Cia Rinne im Gespräch mit Claudia Benthien und Wiebke Vorrath

Cited by 2 publications

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Artistic Work as a Practice of Translation on the Global Art Market: The Example of “African” Dancer and Choreographer Germaine Acogny

Artistic Work as a Practice of Translation on the Global Art Market: The Example of “African” Dancer and Choreographer Germaine Acogny

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