REFLECTIONS ON IMPROVISATION
Text by Julie Carlson, with commentary by group participants. Image credit: Chryssa Varna, from “Industrial Improvisation”, and Ramiro Gomez, “Claudia y Patricia”
A key feature of the phenomenology of improvisation is a series of dialectical paradoxes (i.e., tradition/innovation; structure/caprice; trust/risk; solo/group) that enlist modes of thinking that are embodied, post-formal, co-creative, and psycho-eco-analytic and thus that advance our group’s prior investigations of talking cures and theories and practices of care. Another key element is that improvisation is a life practice of virtually every type of creature, study of which demystifies “human” and “being” and intensifies cross-species collaborations, including display behaviors. This past year we read authors and invited speakers who discuss improvisation within disciplines such as performance studies, cognitive neuroscience, psychoanalysis, and biosemiotics. But in considering these various extensions of the history of thought, our particular interest was to stay focused on perspectives that emerge from improvisation’s two chief domains: performance arts and aggrieved communities. Both domains, we believe, not only create things that enliven thought more de/constructively than most other perspectives but also, by approaching “thought” from two of its alleged underbellies, place into conversation and tension the different forms of sociality and society-making that the improvisatory tactics of the arts and the aggrieved envisage. If one powerful definition of jazz is “the sound of surprise,” improvisation, then, challenges us to reformulate trust in contexts where its being broken is a foregone conclusion. At the same time, improvisation in the arts and by the aggrieved demonstrates how crucially thriving remains tied to surviving and vice versa.
Because of this orientation, our group is especially drawn to centers like the International Institute for the Study of Critical Improvisation at the University of Guelph in London, Ontario who consider improvisation as a social as well as aesthetic practice. (Thanks to George Lipsitz, the UC Santa Barbara Center for Black Studies Research is pursuing a partnership with them.) Their projects endorse Muhal Richard Abrams’ assertion that “improvisation is a human right” and emphasize how theories and practices of improvised music offer models for human rights discourse and struggles that do not proceed from enlightenment concepts of autonomy, order, and individualism but instead from cooperation, negotiations of difference, risk-taking, and trust. We thus started the year by reading chapters from one of their several book publications, The Fierce Urgency of Now: Improvisation, Rights and the Ethics of Cocreation, co-authored by Daniel Fischlin, Ajay Heble, and George Lipsitz, and discussed with George Lipsitz (UCSB Department of Black Studies and Sociology) various arts-based community-revisions that are pursuing rights along more poetic lines of justice (e.g., Project Row-Houses in Houston, Free Southern Theater Institute, Students at the Center in New Orleans). But we also wanted our discussions to complicate what this “living-together” through improvisation entails by considering it from the perspectives of the undercommons, a collectivity for whom the concept of rights is bankrupt and whose joy in existence requires not playing with institutions, and of a psychoanalysis that counts living together as a singular creature one of the most problematic features of living. So we invited as our first two speakers Fred Moten (Professor of English, UC Riverside) and Philip Ringstrom (psychoanalyst and faculty at the Los Angeles Institute of Contemporary Psychoanalysis), who are the most creative improvisational thinkers we know in the fields of jazz and black radical thought and of psychoanalysis. Our second set of speakers, Grisha Coleman (Professor of Movement, Computation, and Digital Media, Arizona State University) and Ann Randolph (playwright, sketch comedian, improv instructor), pursue these impulses specifically through bodies of non/thought, each of them expert at using arts of the body to expand spaces for remaking a feel of togetherness.