In his work about disidentificatory performances of politics, or acts that reformulate the world through performing politics, José Esteban Muñoz argues that rage can provide a call to activism, to “take space in the social that has been colonized by the logics of white normativity and heteronormativity.” Rage can be useful since it demands action. It can be seen as a kind of explosive protest.
When I do something aggressively physical (backpack farther than I think possible, strain to wrench open a calcified jar), for a few precious moments, I’m forced out of a rational, theorizing brain and into a more primal or even affective state. It’s not artistic flow, an elusive state which allows me to forget the strain of mindfulness; it’s a different kind of presence. Because I don’t feel that physically strong, being pushed to my physical limits often flirts with the line between rage and hilarity. I move between seething with frustration to laughing at the absurdity of the moment.
I offer up the rage piñata to those who too, want a release. The rage piñata is an object, but it’s really an invitation to interact. I posit that –
- Play is a subset of interaction.
- Sometimes play is the best way to make a network.
- Destruction can be its own kind of play.
Your body usually knows before your mind accepts.
Pranks and games have their own value-system. Pleasure can be its own reward.
Rage over lethargy. Fail faster, speak simply, work with your hands and your nose.
Connect others; good for her – not for me!
Generosity moves you farther than judgment. Successful results do not justify a dehumanizing process.
Pass the mic. Listen to nature. Self-authorize.
 José Esteban Muñoz. Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: U of Minnesota, 1999) xii.
 I can’t find the exact page but I and listicles everywhere know this is from Amy Poehler’s “Yes Please”