Abstract
Abstract: This article examines contemporary choreographer Crystal Pite’s celebrated work Flight Pattern (2017), created for the Royal Ballet, which depicts an unspecified group of refugees as allegory for the “human” condition. In striving to choreograph exile outside of place and time, Pite rewrites the refugee as a purely bodied condition of transience, and thus corporealizes what Alexander Weheliye calls a “travelling theory.” The work thus strategically obfuscates the political in the image of the refugee, serving a State-run stage; moreover, it downplays the significance of race to the refugee crisis in complement to a predominantly white company. Reading this dance against key texts of biopolitical discourse, I show how the refugee figures as a symbol of the magnitude of biopower and as such is ontologically tied to the notion of the population—yet the refugee is never engaged at the level of embodiment. Flight Pattern thus offers a critical intervention: how does the West envision the refugee as an individual body? On the dancerly body, this entails citations of Western concert dance’s conventions of aestheticized alterity, raising the specter of the “relatable abject”: a figure that is Other to its audience and yet invites their empathic projection. Flight Pattern thus raises important questions for researchers about the implications of aesthetic inquiry into biopolitical crises: what dance can capture—and what it erases—of the experience of refugitude and the struggle for recognition and legibility on the stage of international politics.