Offers a strikingly new perspective on key controversies and debates within avant-garde studies and on contemporary forms of avant-garde expression within a global political economy. At the most basic level, the book challenges pronouncements of the "death of the avant-garde”. The book posits the notion of "avant-garde pluralities” as its conceptual point of departure, and demonstrates how an appreciation of this multiplicity can lead to a more dynamic and increasingly global understanding of vanguardism in the performing arts.