Cultural Identity Politics in the (Post-)Transitional Societies
Cultural Identity Politics in the (Post-)Transitional Societies
Cultural Identity Politics in the (Post-)Transitional Societies
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Culture of trauma and identity politics - critical frames and emancipatory lenses of cultural...<br />
of ideological recursion <strong>in</strong> <strong>the</strong> mantra of “renew<strong>in</strong>g cultural ties” hid<strong>in</strong>g <strong>the</strong> body of <strong>the</strong><br />
sovereign (and <strong>the</strong> fact that <strong>the</strong> emperor is naked) And what is this habitus of “art statism”<br />
that feeds <strong>in</strong>to <strong>the</strong> representative model of govern<strong>in</strong>g aes<strong>the</strong>tics; what sorts of systems of<br />
classification, dist<strong>in</strong>ction, separation, antagonisms occur here and where is <strong>the</strong> way out (It<br />
is worth remember<strong>in</strong>g heuristic toolboxes on <strong>the</strong>se <strong>the</strong>mes <strong>in</strong> <strong>the</strong> works of Pierre Bourdieu<br />
(Bourdieu, 1986; 1990a; 1990b; 1998). National <strong>the</strong>atre is all about taste and class. When<br />
Milohnić ends with a <strong>the</strong>sis proposed by Zoja Skušek some 30 years ago, 2 we f<strong>in</strong>d ourselves<br />
with <strong>the</strong> question of avant-garde <strong>the</strong>atres <strong>in</strong> an oppositional political relationship <strong>the</strong>y<br />
have to assume concern<strong>in</strong>g <strong>the</strong> politics of aes<strong>the</strong>tics and aes<strong>the</strong>tics of politics concern<strong>in</strong>g<br />
ideological conundrums of statist/sovereign <strong>in</strong>corporation at various levels.<br />
As Ranciére would have it, genu<strong>in</strong>e/avant-garde politics and art are forms of dissensus<br />
because <strong>the</strong>ir specificity resides <strong>in</strong> “<strong>the</strong>ir cont<strong>in</strong>gent suspension of <strong>the</strong> rules govern<strong>in</strong>g<br />
normal experience”, where <strong>the</strong>y effect an emancipatory redistribution of <strong>the</strong> sensible,<br />
through “forms of <strong>in</strong>novation that tear bodies from <strong>the</strong>ir assigned places and free speech<br />
and expression from all reduction to functionality (…) forms of creation irreducible<br />
to <strong>the</strong> spatio-temporal horizons of a given factual community” (Ranciére, 2010: 1).<br />
However, <strong>the</strong> disruption that genu<strong>in</strong>e artistic or political activities effect is not about<br />
<strong>in</strong>stitutional overturn<strong>in</strong>g, but “an activity that cuts across forms of cultural and identity<br />
belong<strong>in</strong>g and hierarchies between discourses and genres, work<strong>in</strong>g to <strong>in</strong>troduce new<br />
subjects and heterogenous objects <strong>in</strong>to <strong>the</strong> field of perception (…) reorient<strong>in</strong>g general<br />
perceptual space and disrupt<strong>in</strong>g forms of belong<strong>in</strong>g” (Ranciére, 2010: 2).<br />
more <strong>in</strong>terest<strong>in</strong>g for an <strong>in</strong>dependent observer. Symptomatically, journalists, critics, politicians,<br />
producers and artists emphasized <strong>in</strong> <strong>the</strong>ir public statements that this exchange of <strong>the</strong>atre<br />
performances was <strong>the</strong> first one after ten years of suspension of any k<strong>in</strong>d of cultural collaboration<br />
between <strong>the</strong>se two ex-Yugoslav republics. This messianic role of <strong>the</strong> two national <strong>the</strong>atres is of<br />
course complete mystification which reduces and castrates entire artistic production to nationally<br />
and <strong>in</strong>stitutionally representative art. Exchange of <strong>in</strong>dependent and alternative artists from both<br />
Slovenia and Serbia was never suspended, not even dur<strong>in</strong>g <strong>the</strong> economic, political and cultural<br />
embargo imposed on Serbia by <strong>the</strong> ‘<strong>in</strong>ternational community’. Due to many obstacles, <strong>in</strong>tensity of<br />
this <strong>in</strong>dependent cultural exchange was reduced, its visibility <strong>in</strong> mass media was ra<strong>the</strong>r marg<strong>in</strong>al,<br />
events were maybe not overcrowded with visitors, but it is both arrogant and ignorant to say that<br />
<strong>the</strong> recent exchange of performances of <strong>the</strong> two national <strong>the</strong>atres from Ljubljana and Belgrade<br />
means <strong>the</strong> ‘recover<strong>in</strong>g of cultural ties’ between <strong>the</strong> two newly established states. These states are<br />
maybe new but <strong>the</strong> mental structure <strong>in</strong> <strong>the</strong> heads of <strong>the</strong>ir most <strong>in</strong>fluential cultural emissaries<br />
rema<strong>in</strong>s old: it is <strong>the</strong> same politics of art statism and ignorance of <strong>the</strong> production which cannot fit<br />
<strong>in</strong>to <strong>the</strong> representative model of <strong>the</strong> rul<strong>in</strong>g es<strong>the</strong>tic and art system” (Milohnić, 2011: 13-14).<br />
2<br />
“The sole existence of national <strong>the</strong>atres, an important position <strong>the</strong>y still occupy, as well as <strong>the</strong><br />
paradox that avant-garde <strong>the</strong>atres have to def<strong>in</strong>e <strong>the</strong>ir own position precisely <strong>in</strong> opposition<br />
to big national <strong>the</strong>atre <strong>in</strong>stitutions, make us believe that, when talk<strong>in</strong>g about contemporary<br />
<strong>the</strong>atre, we have to confront ourselves with <strong>the</strong> ideology and practice of <strong>the</strong> national <strong>the</strong>atre”<br />
(Skušek, 1980; quoted <strong>in</strong> Milohnić, 2011: 19).<br />
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