Monica Clare van der Haagen-Wulff

Germany (residence), Australia (citizenship) °1965
research interests: Postcolonial Studies, Critical Race Theory, Gender and Queer Studies, Migration, Intersectionality, Postcolonial/Decolonial Feminist Theories and Methodologies, Globalisation, Global Cities, Affect Theories, Performance Studies, Theories of Embodiement, Fictocritical Writing, Critical Heritage und Historical Memory Studies.
affiliation: University of Cologne
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Monica van der Haagen-Wulff (*1965), Doctorate of Creative Arts (DCA), is an Associate Lecturer at the Chair for Education and Cultural Sociology in the Department of Education and Social Sciences at the Faculty of Humanities, University of Cologne.  Her teaching and research interests include: Cultural Studies, Postcolonial Studies, Critical Race Theory, Gender and Queer Studies, Migration, Intersectionality, Postcolonial/Decolonial Feminist Theories and Methodologies, Globalisation, Global Cities, Affect Theories, Performance Studies, Theories of Embodiement, Fictocritical Writing, Critical Heritage und Historical Memory Studies. Monica has an intercultural dance and performance background and her main research focus is on how practice and theory can be merged to create new knowledges, and in so doing decentre Eurocentric knowledge constructions. She is interested in questions of critical heritage, exploring, in particular, the possibilities of embodied ways of understanding and remembering history. She has published in international academic journals, but she also considers Performance as part of her theoretical output and has performed in Australia and internationally.

research

research expositions

  • Body Hegemonies 2017: An Experimental Transfer (2021) author(s): Monica Clare van der Haagen-Wulff, Michael Lazar, Fabian Chyle published in: Journal for Artistic Research
    Body Hegemonies is an artistic project aimed at exploring and making transparent some of the themes of epistemic violence and hegemonic orders resulting from the legacy of colonialism and slavery, as the hidden flip-side of modernity and enlightenment. Our aim was to examine the Eurocentric logic of dehumanization and processes of exclusion from the perspective of bodies and their embeddedness within these hegemonic structures. The goal was to use artistic methods as tools to research topics commonly examined within an academic framework. The project focused on aspects of bodies that have been/are being excluded or made invisible within contemporary and historical discourses. “Body Hegemonies” worked on the trans-disciplinary interface (entanglement) of theorists, performers and everyday practitioners (experts), in an attempt to make possible other forms of knowing and knowledge production. Specifically, we tried to performatively re-inscribe the historically erased body within the production of knowledge. To engage with and explore these questions, a one-week laboratory was held in which six artists/(social)scientists gathered in a secluded location near Cologne Germany to hold video conversations with international experts over three days on the topics mentioned above. Resulting from these conversations, the Cologne participants presented individual performative responses to the group, which in turn were worked into a “performative score” presented to the public on the last day of the laboratory. This was flanked by a mini-symposium with two international scholars on the topic of body-hegemonies to expand the discursive field within which to locate and understand the artistic explorations.
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