This book opens a discussion on bodies, gender, and decolonial horizons, subjects that are increasingly becoming a political front in the search for justice. It offers an in-depth look at the positions and current developments in decolonial theory, Black Marxism, trans* studies, and contemporary performance research and practice. The focus is on decolonial theory and trans* bodies, bringing forth a discussion of otherness shaped by race, class, and trans*. What kind of body, movement, and politics can be conceived to attack the neoliberal current with its accelerated digital changes and seemingly dispersed, but in reality hyper-flexible, bureaucratic controls?

In The Extractive Zone Macarena Gómez-Barris traces the political, aesthetic, and performative practices that emerge in opposition to the ruinous effects of extractive capital. The work of Indigenous activists, intellectuals, and artists in spaces Gómez-Barris labels extractive zones—majority indigenous regions in South America noted for their biodiversity and long history of exploitative natural resource extraction—resist and refuse the terms of racial capital and the continued legacies of colonialism. Extending decolonial theory with race, sexuality, and critical Indigenous studies, Gómez-Barris develops new vocabularies for alternative forms of social and political life. She shows how from Colombia to southern Chile artists like filmmaker Huichaqueo Perez and visual artist Carolina Caycedo formulate decolonial aesthetics. She also examines the decolonizing politics of a Bolivian anarcho-feminist collective and a coalition in eastern Ecuador that protects the region from oil drilling. In so doing, Gómez-Barris reveals the continued presence of colonial logics and locates emergent modes of living beyond the boundaries of destructive extractive capital.

Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture. The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture. Contributors Lexi Adsit, Sara Ahmed, Nicole Archer, Kai Lumumba Barrow, Johanna Burton, micha cárdenas, Mel Y. Chen, Grace Dunham, Treva Ellison, Sydney Freeland, Che Gossett, Reina Gossett, Stamatina Gregory, Miss Major Griffin-Gracy, Robert Hamblin, Eva Hayward, Juliana Huxtable, Yve Laris Cohen, Abram J. Lewis, Heather Love, Park McArthur, CeCe McDonald, Toshio Meronek, Fred Moten, Tavia Nyong'o, Morgan M. Page, Roy Pérez, Dean Spade, Eric A. Stanley, Jeannine Tang, Wu Tsang, Jeanne Vaccaro, Chris E. Vargas, Geo Wyeth, Kalaniopua Young, Constantina Zavitsanos

This book articulates a contemporary, globalized world as one in which radical disparities in distribution of wealth are being reproduced as the basis for depoliticized social, institutional, and ideological discourses. At its center is a reorientation of global capitalism from the management of life towards making a surplus value from death. This change is presented as a reorientation of biopolitics (bio meaning life) to necropolitics (necro meaning death). Therefore in the book we work with processes of change, of a historicization of biopolitics and its turn into necropolitics that leads to a theoretical trajectory from M. Foucault to A. Mbembe and beyond. This book interprets the sustained perception of existence of dichotomy between these provisional extremes as a trademark of apolitical and/or post-political logics on which contemporary institutional, political, and social discourses tend to be structured upon. More, contrary to the majority of approaches that insists on a profound dichotomy between democracy and totalitarianism, between poverty and free market, and between democracy and capitalism, this book does not interpret these relations as dichotomous, but as mutually fulfilling. The book elaborates, in the context of articulation of these logics, contemporary, imperial racism (racialization) as an ideology of capitalism and states that the First World’s monopoly on definition of modernity has its basis in contemporary reorganization of colonialism. In the book, the authors trace a forensic methodology of global capitalism with which life, art, culture, economy, and the political are becoming part of a detailed system of scrutiny presented and framed in relation to criminal or civil law. Criminalization of each and every segment of our life is working hand in hand with a depoliticization of social conflicts and pacification of the relation between those who rules and those who are ruled. The outcome is a differentiation of every single concept that must from now bear the adjectives of the necropolitical or forensic; therefore we can talk about forensic images, art, projects, and necropolitical life, democracy, citizenship. This will change radically the perspectives of an emancipative project of politics (if it is any possible to be named as such) for the future.

The Oxford Handbook of Dance and Politics presents cutting edge research investigating not only how dance achieves its politics, but also how notions of the political are themselves expanded when viewed from the perspective of dance.

Indonesian court dance is famed for its sublime calm and stillness, yet this peaceful surface conceals a time of political repression and mass killing. Rachmi Diyah Larasati reflects on her own experiences as an Indonesian national troupe dancer from a family of persecuted female dancers and activists, examining the relationship between female dancers and the Indonesian state since 1965.