Art, Identity Politics, and Cultural Entryism: Societas and the Shaping of Contemporary Art

Art and identity politics have been deeply intertwined throughout history, as artists have sought to express their own experiences and perspectives, as well as to challenge societal norms and promote social change. In recent years, this relationship has become even more pronounced, as identity politics has become a dominant force in contemporary culture. This has led to a number of debates about the role of art in promoting social justice, as well as the extent to which art can be used to challenge the status quo.

Culture War: Art, Identity Politics and Cultural Entryism (Societas)

by Alexander Adams

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Language	:	English
File size	:	6641 KB
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Print length	:	214 pages
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Hardcover	:	176 pages
Item Weight	:	13.7 ounces
Dimensions	:	6.5 x 0.75 x 9.75 inches

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One of the most controversial examples of the relationship between art and identity politics is the work of Societas, a radical theater company founded in Italy in 1992. Societas has been known for its provocative and often disturbing performances, which often explore themes of sexuality, violence, and social exclusion. The group has been accused of promoting cultural entryism, or the deliberate infiltration of a culture by outsiders in order to subvert its values. However, Societas has also been praised for its innovative and challenging work, which has helped to push the boundaries of contemporary art.

In this article, we will explore the complex relationship between art, identity politics, and cultural entryism, with a particular focus on the work of Societas. By examining the group's history, artistic practices, and ongoing influence, we will shed light on the ways in which identity politics has shaped the art world and raise important questions about the role of art in contemporary society.

History of Societas

Societas was founded in 1992 by Romeo Castellucci, Claudia Castellucci, and Chiara Guidi. The group's early work was heavily influenced by the Italian avant-garde theater of the 1960s and 1970s, and it quickly gained a reputation for its provocative and challenging performances. In the early 2000s, Societas began to incorporate elements of identity politics into its work, and the group's performances became increasingly focused on issues of sexuality, gender, and social exclusion.

One of the most controversial of Societas's early performances was "Tragedia Endogonidia" (2002),which featured a scene in which a naked woman was crucified on a cross. The performance caused a great deal of controversy, and it was accused of being both blasphemous and misogynistic. However, Societas defended the performance, arguing that it was a powerful and necessary exploration of the suffering of women in society.

In recent years, Societas has continued to produce challenging and thought-provoking work. The group's most recent performance, "The Four Seasons Restaurant" (2019),was a meditation on the themes of death and loss. The performance was praised for its beauty and its powerful emotional impact.

Artistic Practices

Societas's artistic practices are characterized by their use of extreme and often disturbing imagery. The group's performances often feature scenes of violence, nudity, and sexual abuse. Societas has been accused of exploiting its performers, and some critics have argued that the group's work is nothing more than a form of shock tactics.

However, Societas's defenders argue that the group's work is necessary to provoke thought and challenge the status quo. They argue that Societas's performances are not meant to be gratuitous, but rather to force audiences to confront the uncomfortable realities of the world around them.

Societas's work is also notable for its use of ritual and myth. The group's performances often draw on ancient myths and religious traditions, and they often feature elements of ritual and ceremony. This use of ritual and myth helps to create a sense of otherness and estrangement, which can be both unsettling and fascinating.

Cultural Entryism

Societas has been accused of promoting cultural entryism, or the deliberate infiltration of a culture by outsiders in order to subvert its values. The group's performances often challenge the dominant values of Western culture, and they have been accused of exploiting and exoticising non-Western cultures.

However, Societas's defenders argue that the group is not trying to subvert Western culture, but rather to challenge its dominant values. They argue that Societas's work is necessary to open up new spaces for dialogue and understanding between different cultures.

The debate over Societas's work is a complex one, and there is no easy answer to the question of whether or not the group is promoting cultural entryism. However, one thing is clear: Societas's work is challenging the status quo and forcing us to confront the uncomfortable realities of the world around us.

Art and identity politics have been deeply intertwined throughout history, and this relationship has become even more pronounced in recent years. The work of Societas is a particularly controversial example of this relationship, and the group has been accused of promoting cultural entryism and exploiting its performers. However, Societas's defenders argue that the group's work is necessary to provoke thought and challenge the status quo.

The debate over Societas's work is a complex one, and there is no easy answer to the question of whether or not the group is promoting cultural entryism. However, one thing is clear: Societas's work is challenging the status quo and forcing us to confront the uncomfortable realities of the world around us.

References

* Societas website * The Guardian: Societas's Tragedia Endogonidia * The New York Times: Societas's The Four Seasons Restaurant * Theatre Journal: Societas and Cultural Entryism