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This paper draws on Lefebvre’s rhythmanalysis to investigate the multiple rhythms of the Berlin Marathon, exemplifying and expanding understandings about the rhythms of places and mobilities. First, we discuss how isorhythmic order is imposed on the city and event by race organizers. Secondly, we show that a marathon depends upon the preparatory training or ‘dressage’ performed by the thousands who have made themselves ‘race-ready’. Thirdly, we explore the changing individual and collective rhythms that continuously emerge according to contingencies and stages of the race to compose an unfolding drama of rhythms that includes both arrhythmic and eurhythmic experiences.
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