Master of Performing Arts Thesis
Mimar Sinan Fine Arts University Modern Dance Master Thesis
An Execution of a Public Space Performance with Method of Stand-up Perform Dance; An Example of Politicization Process of Contemporary Dance in Turkey: “Liquid Politics”
This performing arts master thesis is written for documenting the conceptual background, methodology and production process of the dance performance titled: “Liquid Politics”. The subject of this thesis is “approximation of performance and protest in context of liquidity”. The literature review has been carried out in order to find out clues of contemporary dance/performances that approach what is political, and also protests that approach performativity in ‘liquid modern times’.
In this thesis, the concept of “liquidity”, defined by Zygmunt Bauman’s “liquid modernity” conceptualization, suggests a different viscosity, speed and transformation than the constant fixed background of the past.
In the creative process, the research question was: “is it possible to create a dance performance, in accordance with current changes of the political agenda with the use of stand-up perform dance method?” “Liquid Politics” was inspired by June 2013’s ‘Gezi Park Social Movement’. “Liquid Politics” has been realized as a public space performance using the method of ‘stand-up perform dance’, which is considered to be an example of political contemporary dance performance in Turkey. The methodology followed for this thesis includes participatory observation, performance creation studies and documentation of the performing process.
KEYWORDS: Liquidity, Liquid Modernity, Zygmunt Bauman, Performance, Stand-up Performdance, Body and Protest, “Gezi Park Resistance”, “Dance of Lady in Red”.
Review: By Ali Şimşek
At the beginning “Liquid Politics” performance , the performer has a reverse faced Grotesque mask with Grotesque body re-presentation, carrying some suggestion of a Turkish politician or a construction developer .
This reversed faced Mask and back to front dressing is constantly playing with our perception of what is front and back. Reversing and distorting the perception of what is right and wrong, true or lie.
There was a forward movement but if focused in detail, it was an anatomically reversed “back”. Reminding us of Albert Camus’s “a l’envers a l’endroit” (reversed front) , indeed – Power – is not just a mere shadow of an individual, which can be seperated from a person’s own personality, and capitalism looks like a tic ( a blood sucking insect) stuck to the back. Zygmunt Bauman promoted the title of Liquid Modernity, which has a different viscosity, speed and transformation, than the constant fixed background of the past. Unexpected constant, speedy change like liquids.
“The core articulation of Bauman’s claims is that contemporary life is the consequence of liquid modernity and its conditions of precariousness, instability, fluctuation and disorientation. Bauman argues for a transition from a ‘solid’ to a ‘liquid’ state of modernity in a swift decomposition of social forms such as those guarding choices, routines and behaviours. Similar contemporary attempts to contain an understanding of the fluid zeitgeist have also been recorded in reference to ‘risk society’ (Beck, 1992) and ‘late modernity’ (Giddens, 1990). These perspectives reverberate across one another as they describe a categorical shift in the construction and contextualisation of advanced capitalist societies in the latter half of the twentieth century. The conditions of liquid times include the separation of power from politics, the decline of community, the rise of lifestyles and the seeming freedom of choice. There is a certainty about the constant uncertainty of liquid life which is ruled by the conditions of fluidity, disposability, adaptability and constant motion.” 
In the performance the politician strips , undressing one by one… a shirt made of dollars, later turning into a red tailed devil, a wild animal, and from animal into human. By undressing, throwing this “reverse” from his back, he becomes a human, becomes her/self. There are cinematographic stages in the performance. Like the peeling of an orange, throwing away the waste and like the liberating dance of a human. Every “phase” is like getting rid of all the weights until freedom comes. 
Mimar Sinan Güzel Sanatlar Üniversitesi / MSGSÜ, Modern Dans
Bu yüksek lisans eser metni, “Likit Politika” dans performansının kavramsal alt yapısı, yöntemi ve üretim sürecini belgeleriyle sunmak için yazılmıştır. Eser metninin konusu; ‘likidite/ akışkanlık’ bağlamında performans ve protestonun birbirine yaklaşmasıdır. İçinde bulunduğumuz ‘akışkan modern’ dönemde çağdaş dans/ performansın politik olana doğru yaklaşması ile protestoların performatifleşmeye doğru yaklaşmasının izlerini bulmak için kaynak araştırması yapılmıştır. “Likidite” kavramı, Zygmunt Bauman’nın yaygınlaştırdığı “akışkan modernite” kavramıyla açıklanmıştır. Bauman, bu kavramı geçmişin sabitlerinden farklı bir akışkanlığı, hızı ve dönüşümü anlatmak” için kullanmıştır. Eser yaratım sürecinde, “stand-up performdans yöntemi kullanılarak güncel olaylarla uyumlu bir dans eseri üretmek mümkün müdür?” sorusu araştırılmıştır. “Likit Politika” eseri, 2013 Haziran Gezi Parkı toplumsal hareketinden etkilenilerek üretilmiştir. Stand-up performdans yöntemiyle kamusal alanda bir performans uygulaması olarak gerçekleştirmeyi amaçlayan “Likit Politika” eseri, Türkiye’de politik bir çağdaş dans/performansı örneği olarak sunulmuştur. Çalışmanın yöntemleri arasında; katılımcı gözlem, performans üretim çalışmaları ve sergileme sürecinin belgelenmesi yer almaktadır.
ANAHTAR KAVRAMLAR: Akışkanlık, Akışkan Modernlik, Zygmunt Bauman, Performans, Stand-up Performdans, Beden ve Protesto, “Gezi Parkı Direnişi”, “Kırmızılı Kadın’ın Dansı”.