Abstract (eng)
Jacques Rancière considers dance to be paradigmatic of his aesthetic regime of art. With regard to a somatic practice of Contact Improvisation (CI), free play as a political way of being that is unique to the aesthetic regime is investigated. Therefore, existing occidental, patriarchal power structures and their effects on inner, experiential dimensions of soma, on social relationships in direct contact of dancers* to each other as well as on interactions between socially appearing groups are analyzed. Involving decolonial feminist* perspectives in Rancière‘s discourse and in the CI practice turns out to be of central importance in order to break police structures. This involves up-valuing parasympathetic, circulatory, chaotically „wrong“, or fluid, emotional qualities, as well as those that are represented as feminine, of color or disabled, in order to move closer to a utopia of anarchic, power-free worlds. An important part of CI‘s political and emancipatory potential seems to be the essential role that senses like the skin, fascia, movement and the vestibular system play in it – senses that get pushed into the background in occidental every day circumstances.