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Response to a Reappropriation Request

Response to a Reappropriation Request Response to a ReappRopRiation Request Carolee Schneemann n a letter to the artist, dated January 23, 2013, Danish choreographer Mette Ingvart­ sen wrote: “On May 29th, 2014, it will have been exactly fifty years since you pre­ miered your performance Meat Joy in Paris at the Festival of Free Expression . . . . I would like in collaboration with you and the performers you were working with in 1964, to make a reconstruction of Meat Joy . . . to understand better what precisely was going on in this period, and also what the exact questions were within the performing arts scene. Today reconstructions and the interest in the past have become a trend in the European dance scene. And even though I have been very resistant and critical towards this trend, thinking that art is not there to conserve and repeat history but rather to reinvent and develop itself, I think that these specific questions deserve a reactualiza­ tion . . . . What I would like to do, through interviewing you and the other participants about the performance, is to figure out how we together can re­actualize the performance that was made fifty years ago. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Response to a Reappropriation Request

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Publisher
MIT Press
Copyright
© 2014 Carolee Schneemann
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00172
Publisher site
See Article on Publisher Site

Abstract

Response to a ReappRopRiation Request Carolee Schneemann n a letter to the artist, dated January 23, 2013, Danish choreographer Mette Ingvart­ sen wrote: “On May 29th, 2014, it will have been exactly fifty years since you pre­ miered your performance Meat Joy in Paris at the Festival of Free Expression . . . . I would like in collaboration with you and the performers you were working with in 1964, to make a reconstruction of Meat Joy . . . to understand better what precisely was going on in this period, and also what the exact questions were within the performing arts scene. Today reconstructions and the interest in the past have become a trend in the European dance scene. And even though I have been very resistant and critical towards this trend, thinking that art is not there to conserve and repeat history but rather to reinvent and develop itself, I think that these specific questions deserve a reactualiza­ tion . . . . What I would like to do, through interviewing you and the other participants about the performance, is to figure out how we together can re­actualize the performance that was made fifty years ago.

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Jan 1, 2014

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