Remediating Protest: Transgressive Aesthetics in Soviet ＆ Post-Soviet Culture

Catalog description

In the past ten years the authoritarian regime in Russia has rendered political protest exceedingly dangerous but it has not immobilized the cultural forms of dissent shaping contemporary anti-war resistance. From a feminist performance in a church to satirical documentary and whimsical trial speeches, contemporary artists, journalists, and activists have been creating the language of protest essential to understanding post-Soviet space. Why has protest in the post-Soviet region been taking these specific aesthetic forms? Taking our point of departure from Rancière’s idea of resistance – signifying both firm persistence and a practice yielding change – we will explore how contemporary post-Soviet protest genres rely on the communication strategies that return to Soviet parody, poetic form, underground art, and dissident practices of cultural distribution. Looking at laughter as a transgressive communicative device, we will search for the reverberations of Soviet satire in Russian and Belorussian stand-up, as well as in less obvious genres, such as the recent documentary work by Alexey Navalny. We will focus on mimesis as a tool of resistance in Soviet underground art and contemporary performative practices. Exploring the aesthetics of testimony rooted in Soviet show trials, we will examine how Soviet journalistic prose and, later, contemporary theater reclaimed its devices. We will study the persistence of bodily tropes and language of violence in women’s prose, drama, contemporary feminist poetry and feminist performance from Russia and Belarus. Finally, we will discuss how dissident practices of samizdat and tamizdat helped create cultural networks in Soviet Russia and beyond as we reflect on the use of new media platforms and technologies of digital activism in post-Soviet space. Rather than searching for instances of direct influence between cultural producers,…