Critical Kits and How We Use Them

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willingness of people to go along with it, and that is what it receives. The muted, kind of warmly baffled response of the families that make up the audience feels like something unique, peculiar and almost nostalgic – but with a timely potential, as though preparing the ground for a new kind of techno-cultural relation. Nathan was the broadsheet sports reporter

affordable digital technology, which is itself tempered here, by its interaction with the whims and unpredictabilities of bodies, personalities and materials. Later, these children and their parents are invited to a film screening in a dance studio upstairs. The film is Breakin’, a 1980’s classic involving dance battles on street corners and basketball courts of LA, and a romantic storyline involving a Jazz dancer who adopts a hybrid street-jazz style. The film has overtly gay characters, and a significant number of the cast are black. This is meaningless, of course. It isn’t a statement of queer culture, racial subversion of the heteronormative white audience. But as with all of the interventions in the space, it generates its interest and effect from a kind of discomfort, misplacement. The room feels a lot like a childrens’ birthday party. The kids mostly don’t listen or watch. The adults talk all the way through, many people leave before the end. But this film wouldn’t be played at a childrens’ birthday party, especially not in 2016. And people wouldn’t leave before the end of Frozen. There is something playful, but not exuberant about the placement of the film in this context – sure its is appropriate, for a dance studio – but it's also too sexual, grown up, too normal to demand attention. In saturated environments, nuanced culture is the anti-noise. What were first conceived as experiential and affective cultural materials are deployed now to remedy a perceived mass-malaise – we don’t care enough about THIS, or THAT, whether a product, a local service, or a way of life. We cannot be careful, because our care is continually being depleted by this environment. In return, Re-Dock’s form of socially engaged critical art practice arrives in an almost unrecognisable, supplicant form. It relies on the generosity, 68