On Camp, Duplicity and Quotation
DCTG Public Workshop with Martin Hargreaves
Sat 8- Sun 9 October, 1-7pm
£60 for the weekend
Chisenhale Dance Space, London
Artistic Director and choreographer Joe Moran invites writer and dramaturge Martin Hargreaves to lead the first Dance Critical Theory Group Public Workshop, part of the final event series of Dance Art Foundation's Why Everyone Want What We've Got reserach project.
Hysterical Seduction is a two-afternoon, weekend workshop offered by application and invitation.
Image: Tragic Stage by Pablo Bronstein. ICA, London. Photography: Steve White
‘To camp is a mode of seduction - one which employs flamboyant mannerisms susceptible of a double interpretation; gestures full of duplicity, with a witty meaning for cognoscenti and another, more impersonal, for outsiders’- Susan Sontag, Notes on Camp
If one of the dominant modes in which dance has entered the gallery is through a focus on the labour of the body as a resistance to the circulation of fetish object and the accumulation of capital, then we might want to argue that a main trope has been the valorisation of the non-spectacular body, the ‘pedestrian’, or even the actual or real body of the artist. There has been another tendency however, towards the excessively theatrical, the wildly gesticular, the hysterically expressive. Awkward, attention-seeking and embarrassing, this staging of the body does not ruin the smooth operations of reproduction through refusal but through excess. One way to think through this is the sensibility of Camp.
In focusing on Camp we will take up the challenge of seductive, and non-seductive, mannerisms and gestures. In tracing back the duplicity of flamboyance to Victorian hysterics, by way of feminist and queer choreography, we will ask after the possible body politics of excess and undecidability. What happens when double interpretation spirals through chains of quotations? How might seduction help us think through the body as implicated in visual cultures of susceptibility and openness whilst also thinking through wit as a site of resistant agency?
To apply to participate, please send a brief expression of interest and CV to email@example.com Weds 21 September. Places will be confirmed by Fri 22 September. All are welcome to apply.
£60 for the two day workshop. Some one-day £30 places are also available. Fee payments will be required to confirm workshop place.
Dates and times
Expression of interest deadline: Weds 21 September
Booking confirmation: Fri 22 September
Workshop: Sat 8 & Sun 9 October, 1-7pm
Chisenhale Dance Space
64-84 Chisenhale Road
London E3 5QZ
Martin Hargreaves is an Associate Lecturer in Fine Art at Goldsmiths and a Visiting Lecturer in New Performative Practices at DOCH, Stockholm. His research practices range between boredom and hysteria, covering the histories of contemporary dance, queer performance and camp misunderstandings. Martin was Editor of Dance Theatre Journal and Programme Leader of MA The Body in Performance at Trinity Laban until 2015. He performed in Tino Seghal’s These associations and participated in Expo Zero as part of Musee de la Danse, both at Tate Modern. He co-curated the Volumes Project performance programme for Mirror City at Hayward Gallery, with Frank Bock and Nicola Conibere, and also organized the performances for Yvonne Rainer at Raven Row and Move: Choreographing You, Hayward Gallery.
Why Everyone Wants What We’ve Got is curated by Joe Moran and produced by Dance Art Foundation. It is supported by Arts Council England, Block Universe, Chisenhale Dance Space, Dance4, David Roberts Art Foundation and Delfina Foundation. Image: Tragic Stage, Pablo Bronstein, ICA, photography: Steve White