In this article, I consider the global tradition of live art as a pedagogical force that draws on queer affect and resonance. Scholars of performance studies have situated live art in the field of experimental and undisciplined art but have not given enough attention to its pedagogical potential. In southern Africa, live art has been theorised as a practice that is leaky, transgressive, and undisciplined, emphasising risk, extremity and endurance. These conditions are partly shaped by the region's historic struggle for liberation since the twentieth century but cannot be reduced to this period alone.
No takes yet. Share an insight, caveat, or question.
Nashilongweshipwe Sakaria (2024) studied this question.
Synapse has enriched 5 closely related papers on similar clinical questions. Consider them for comparative context: