Reviewed by:

• Choreographing Dirt: Movement, Performance, And Ecology In The Anthropocene by Angenette Spalink
• Diana Looser

In her original and engaging monograph, Choreographing Dirt: Movement, Performance, and Ecology in the Anthropocene, Angenette Spalink attunes us to the importance of dirt in artistic performance, highlighting our profound entwinement with such matter and the broader social and ecological significance of these interrelationships. For Spalink, "dirt" refers to earthly material such as soil, peat, and fungi that has been removed from its original grounded context and has been culturally reshaped within the framework of performance, where it functions as a vital and agential co-performer along with human actors and dancers. Spalink undergirds her analysis of choreographic dirt with two key concepts. The first is her compound neologism biogeocultography, which denotes "the structured movement of ecological matter through geographic, biological, and cultural spaces" (2) and the meanings such movements create. The second concept, performative taphonomy (derived from the processes whereby material remains decompose and become part of the environment), expresses the notion that "the presence of exhumed ecological matter on page and stage—e.g., dirt—'does' something" (16). By exploring the many ways in which humans and dirt affect one another, Spalink encourages a more nuanced apprehension of our material entanglement with more-than-human worlds and reveals how dance and performance can provide a productive arena for thinking through the complex problems of the Anthropocene.

Choreographing Dirt brings together a diverse array of late twentieth-century and early twenty-first-century works from North and Central America and Europe: Suzan-Lori Parks's The America Play (1994), Pina Bausch's The Rite of Spring (1975), Eveoke Dance Theatre's Las Mariposas (2010), and Iván-Daniel Espinosa's Messengers Divinos (2018). The author presents a series of absorbing and richly contextualized close readings buttressed by Indigenous and non-Indigenous critical perspectives. She shows how these performances engage dirt as a vital choreographic element to address environmental racism, extractive capitalism, the interplay of human and more-than-human bodies, and an eco-ethics of care.

Chapter 1 takes up the trope of digging and disinterment as a mode of African American revisionist historiography in The America Play, extending it to a taphonomical reading by focusing on the Foundling Father's material interactions with the soil itself. Staking the claim that "soil literally contains information that changes and influences the ways in which we understand and interpret the past" (24), Spalink uncovers how the Foundling Father's repeated digging movements are political acts that testify to the repetitive physical labor of enslavement and also demonstrate Black resistance and liberation, as he unearths discarded remains previously omitted from the canon of US history. Reciprocally, the soil itself performs as it exhibits evidence of social and environmental injustices. The affective relationship between the character and the soil becomes a means to interrogate dominant historical narratives and bring to light alternative stories and voices.

Chapter 2 offers a close reading of the peat moss that coated the stage in Pina Bausch's adaptation of Igor Stravinsky's The Rite of Spring, highlighting how the dancers and peat were mutually altered through their physical interactions. In contrast to economic systems and power structures that reduce peat to a resource, Spalink considers Indigenous relational ontologies that understand peat as part of a more-than-human genealogy. She argues that peat functions both as a material performer and as a metaphor within the narrative: like the sacrificial virgin in the story, dead bodies decompose and become part of the soil; at the same time, peat archives and preserves organic (human) remains, so the dancers' bodies may be marked with such remains. Despite this vitality, however, Spalink wonders about the ethics of extracting the peat from its source and treating it as a prop.

In her third chapter, Spalink reads Eveoke Dance Theatre's Las Mariposas, a performance about the Mirabal sisters, who led an underground resistance movement in the 1950s against Dominican dictator [End Page 592] Rafael Trujillo and were subsequently assassinated. Dirt appears...

 校订者：

• 
  编舞泥土：人类世中的运动、表演和生态学 作者：Angenette Spalink
•  戴安娜·松

在她引人入胜的原创专著《编舞泥土：人类世的运动、表演和生态学》中，Angenette Spalink 让我们意识到泥土在艺术表演中的重要性，强调了我们与此类物质的深刻纠缠以及这些相互关系的更广泛的社会和生态意义。对于 Spalink 来说，“泥土”是指土壤、泥炭和真菌等尘世材料，这些材料已经从其最初的接地环境中被移除，并在表演框架内进行了文化重塑，在那里它与人类演员和舞者一起发挥着重要和代理的共同表演者的作用。Spalink 用两个关键概念来支持她对编舞污垢的分析。第一个是她的复合新词 biogeocultography，它表示“生态物质通过地理、生物和文化空间的结构化运动”（2） 以及这种运动创造的含义。第二个概念，表演性的 taphonomy（源自材料分解并成为环境一部分的过程）表达了“在页面和舞台上挖掘出来的生态物质——例如泥土——'做'某事”的概念（16）。通过探索人类和泥土相互影响的多种方式，Spalink 鼓励我们更细致地理解我们与非人类世界的物质纠葛，并揭示了舞蹈和表演如何为思考人类世的复杂问题提供一个富有成效的舞台。

《泥土编舞》汇集了来自北美、中美洲和欧洲的 20 世纪末和 21 世纪初的各种作品：Suzan-Lori Parks 的《The America Play》（1994 年）、Pina Bausch 的《春之祭》（1975 年）、Eveoke Dance Theatre 的《Las Mariposas》（2010 年）和 Iván-Daniel Espinosa 的《Messengers Divinos》（2018 年）。作者提出了一系列引人入胜且语境丰富的近距离阅读，并得到了土著和非土著批评观点的支持。她展示了这些表演如何将泥土作为重要的舞蹈元素来解决环境种族主义、采掘资本主义、人类与超人类身体的相互作用以及关怀的生态伦理。

第 1 章在《美国戏剧》中采用了挖掘和拆解的比喻作为非裔美国人修正主义史学的一种模式，通过关注弃儿父亲与土壤本身的物质互动，将其扩展到一种 taphonological 阅读。斯帕林克声称“土壤实际上包含改变和影响我们理解和解释过去的方式的信息”（24），揭示了弃儿之父反复的挖掘动作如何成为政治行为，这些行为证明了奴隶的重复体力劳动，也展示了黑人的抵抗和解放，因为他发掘了以前在美国历史经典中遗漏的废弃遗骸。反过来，土壤本身的表现也表现出社会和环境不公正的证据。人物与土壤之间的情感关系成为质疑主流历史叙事并揭示另类故事和声音的一种手段。

第 2 章仔细阅读了 Pina Bausch 改编自伊戈尔·斯特拉文斯基 （Igor Stravinsky） 的《春之祭》中覆盖在舞台上的泥炭苔，强调了舞者和泥炭如何通过他们的身体互动相互改变。与将泥炭减少为资源的经济体系和权力结构相比，Spalink 将泥炭理解为超越人类谱系的一部分的土著关系本体论。她认为，泥炭既是物质表演者，也是叙事中的隐喻：就像故事中被牺牲的处女一样，尸体腐烂并成为土壤的一部分;同时，泥炭档案和保存有机（人类）遗骸，因此舞者的身体可能会用这些遗骸做标记。然而，尽管有这种生命力，Spalink 还是对从源头提取泥炭并将其视为支柱的道德问题感到疑惑。

在她的第三章中，斯帕林克朗读了 Eveoke 舞蹈剧院的 Las Mariposas，这是一场关于米拉巴尔姐妹的表演，她们在 1950 年代领导了一场反对多米尼加独裁者 [结束第 592 页] 拉斐尔·特鲁希略的地下抵抗运动，随后被暗杀。污垢出现...