In The Invention of the White Race Volumes I & II, Theodore W. Allen offers a historical materialist analysis of racial slavery; a system put in place in the decades following the second phase of Bacon’s Rebellion in 1676 when an army of European and African chattel bond laborers burnt Jamestown to the ground and temporarily drove Governor Berkeley into exile across the Chesapeake Bay. In a conscious response to labor solidarity the plantation bourgeoisie enacted a series of laws and practices in the late 17th and early 18th century which first put in place the system of white racial privileges which enabled the imposition of racial slavery and “white” male supremacy.

Join us for a closer look at the political and economic background to dramatic recent events in Latin America, where a tremendous struggle is taking place between popular movements opposed to neoliberalism and authoritarianism, and capitalist elites determined to defend their profits and privileges.

Join us as we journey through this movement from the imaginary concrete to the abstract concrete to the real concrete. Come and challenge your way of thinking and understanding the world as it appears to you and begin to identify some of what needs to be overcome and done to bring about a better world. In Volume 2 we further our ability to de-fetishize the machinations that appear on the surface of society and their real relationship to the production of wealth and the circulation of that wealth throughout all the competing capitalist interests and the various branches of capital, and the different strata of the proletariat —prices, wages, interests, rents, dividends, rates of profit, fictitious capital—while revealing the necessity of tendential contradictions that result in episodic crisis of the system leading to periodic booms and busts!

“ritical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation,” writes philosopher Jacques Rancière in Aesthetics and its Discontents (2004). When as dance artists we decide to work critically with and through the body, and at the same time enter the contested field of the history of psychiatric diagnosis, our aim is to initiate spectator’s transformation. The intention is to make him/her into an active observer of the world outside a given theatrical event. For this to occur, the spectator is asked to remain attentive during a relatively short time of a theatrical event.