Rage Piñata

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.”[1] 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 –

  1. Play is a subset of interaction.
  2. Sometimes play is the best way to make a network.
  3. Destruction can be its own kind of play.

 

Manifesto 10.30.17.

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![2]

Generosity moves you farther than judgment. Successful results do not justify a dehumanizing process.

Pass the mic. Listen to nature. Self-authorize.

 

[1] José Esteban Muñoz. Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: U of Minnesota, 1999) xii.

[2] I can’t find the exact page but I and listicles everywhere know this is from Amy Poehler’s “Yes Please”

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