Performansın Köklerine İnmek/Sınırlarını Belirlemek: Neo-Şamanist Bir Ritüel Olarak Performans Sanatı

Year 2024, , 21 - 47, 30.06.2024

Elif Dastarlı , İlkay Canan Okkalı

https://doi.org/10.26650/sty.2024.1419851

Abstract

Sayısız performans sanatı örneği 1960’lı yıllardan günümüze, bu sanatı yeni ifade formlarından biri haline getirse de eyleme dayalı, ancak sahne sanatı olmayan performans sanatının ne olduğu, kökeni ve nasıl işlediğini akademik olarak net biçimde tanımlamak güçtür. Çünkü başta ritüel çalışmaları ve tiyatro kuramları gibi çeşitli performans teorileri, performans sanatını antik ritüellere bağlayarak tanımlamış, bir görsel sanat türü olarak performansın sınırlarını belirlemek zorlaşmıştır. Öte yandan 20 yüzyılda insanoğlunun kaybettiği doğayla yeniden bağ kurma isteği, neo-şamanist birer ritüel olarak uygulanan performansları ortaya çıkarmıştır. Modern seküler dünyada çağdaş sanat üretimi olarak şekillenen performans sanatının ritüel köklerinden kopup kopmadığını araştırmak, özellikle şamanik bir ritüel gibi uygulanan performans sanatı örneklerine odaklanarak mümkündür. Performans sanatı üzerine analitik eleştirel bir yaklaşım geliştirmeye çalışılan makale, onun bir çatı kavram olan “çağdaş sanat” içindeki yerini saptayabilmek için ritüel köklerini araştırmakta, tiyatro ile bağlarını sorgulamakta, Wagner’in “bütünsel sanat eseri” önerisini tartışarak avangart hareketlerin performans sanatına katkılarını ortaya koymaktadır. Makalede, yöntemin-formun, içeriği-anlatıyı belirlediği bir tür olarak performans sanatının kategorik tanımı yapılmaktadır. Bu doğrultuda Şamanizm’i bilen ve kendini neo-şaman olarak gören, pagan dinleri araştırarak beslenen, antik inanç ritüelleri ve tekniklerinden yararlandığını tespit ettiğimiz sanatçıların üretim dilleri, performans örnekleri üzerinden incelenmektedir. Böylece performans sanatının yeni çağ inançların dirilmesindeki payı da ortaya konmaktadır.

Keywords

Performans sanatı, şamanizm, ritüel, bütünsel sanat eseri, yeni çağ inançları

Detecting the Limitations of Performance: Performance Art as a Neo-Shamanistic Ritual

Abstract

Whilst numerous instances of performance art since the 1960s have propelled it into the realm of contemporary expression, articulating a precise academic definition for this art form rooted in its actions rather than in how the art is performed proves challenging. Detecting the limits of performance as a type of visual art is difficult because various theories (e.g., ritual studies, theatre theories) have linked performance art to ancient rituals, which complicates the delineation of performance within the visual art spectrum. Conversely, a yearning to reconnect with nature, which is lost in the modern milieu, has given rise to performances styled as neo-shamanist rituals. Examining whether performance art, which is conceived as a modern secular artistic production, has truly distanced itself from its ritualistic origins, particularly by scrutinizing instances where it aligns with shamanic rituals, is a viable avenue of exploration. This article seeks to cultivate an analytical and critical approach to performance art by delving into its ritualistic foundations to ascertain its position within the overarching concept of contemporary art. The study scrutinizes the connections of performance art with theatre, assesses Wagner’s proposition of Gesamtkunstwerk [total work of art], and unveils the contributions of avant-garde movements to the evolution of performance art. The article endeavors to provide a categorical definition of performance art as a genre wherein the method and form dictate the relationship between content and narrative. In this context, the article uses performance exemplars to examines the linguistic expressions of artists well-versed in Shamanism who identify as neo-shamans and draw inspiration from research into pagan religions. This exploration reveals the role of performance art in the resurgence of new age beliefs.

Keywords

Performance art, shamanism, ritual, total work of art, new age beliefs

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