Choreography in the Age of Post-Privacy

This article situates choreography within topical debates on post-privacy, critically interrogating a trend toward the exposure of intimate life and sexuality in performance. A scene from Pina Bausch’s Window Washer (1997), shedding light on domestic violence and the sexualized female body, is related to the feminist assertion that “the personal is political.” Michael Parmenter’s A Long Undressing (1995), a piece about the artist’s identity as a gay man, catalyzes discussions of the closet, individual authenticity, and queer identity politics. I assess the two works’ contributions to discourses on the private-public distinction, drawing on a range of contrasting perspectives from philosophical, sociological, and political fields

Aesthetics · Art · Art history · Assertion · Choreography · Closet · Dance · Human sexuality · Identity (music) · Media studies · Political science · Politics · Queer · Sociology · Visual arts · Art, Politics, and Modernism · Cinema and Media Studies · Diversity and Impact of Dance · Gender Studies · History · Law