The study critically reclaims participatory art beyond its co-option as a fuzzword of neoliberal governance. It examines a range of artistic practices from community theatre, immersive performance ...and the visual arts in different sites around the world. It offers a refreshing theorisation of participatory art as gesture.
This handbook offers a comprehensive anthology of gender studies on the Caribbean islands of the Netherlands. It illuminates the diversity and complexity of Dutch Caribbean gender history, culture ...and politics, covering five decades of scholarship, source texts, and literary expression.
The Global Trajectories of Queerness critically investigates the circulation of the term "queer" in the Global South, its political economy underpinnings and its cultural politics. The collection ...offers theorizations and detailed ethnographies of contemporary same-sex culture in sixteen countries.
The moment the concept of translation is employed with reference to theatre or music and performance, i.e., to a form that includes but exceeds language, the concept becomes detached from its ...conventional sense and is made to travel, it acquires other dimensions, becoming what Gayatri Spivak terms 'catachrestic', a necessary misapplication. To consider translation across cultures or performance forms or idioms, i.e., across global and historical asymmetries, is to call into question the obstinate idea that translation can ever be about finding equivalences and equilibrium between languages or cultures. Rather, the work of translation is about drawing different world-making projects into one another in the textures of performance, transforming both the features of the performance as well as the required means of its appreciation. By way of a response to the performance Legacy (2015) by Ivorian choreographer and performer Nadia Beugré, the article reflects on the work of translation in an era of global incommensurability.
Editorial Zangl, Veronika; Bala, Sruti
European journal of humour research,
08/2015, Letnik:
3, Številka:
2/3
Journal Article
Recenzirano
Odprti dostop
This special issue of EJHR results from the proceedings of an exploratory workshop that took place in September 2013 at the Netherlands Institute for Advanced Studies (NIAS) titled “Humorous ...Approaches to Art and Activism in Conflict”.1 While not all contributors to the workshop are part of this issue, and not all contributors to this issue were part of the workshop, the exploratory gathering of scholars, artists, and activists served as a point of departure for an ongoing research project, the initial findings of which are presented in this volume. Interestingly, none of the contributors would strictly classify themselves as “humour researchers”, and the disciplinary divergences between the essays certainly do not end there. Yet it seemed fitting to position these varying interpretations of humour in relation to art and activism, particularly in sites of conflict, in a journal dedicated to the study of a field that already boasts of several decades of research.
The article analyses three instances of artistic activism from the 21st century in terms of their dramaturgies of humour. The cases examined are the procession of “the human gorging society” by ...Viennese collective Rebelodrom in 2013, the 2012 lecture-performance “The Return of Border Brujo” by Chicano performance artist Guillermo Gómez-Peña and the ongoing Tracking Transience project by US-American artist Hasan Elahi. By extending the concept of dramaturgy from theatre theory to the study of protest and activism in the public sphere, and by interpreting the chosen artistic actions as protest, the article seeks to contribute to humour research from a perspective that focuses on its performative dimension, rather than on its functions or effects alone. The term “dramaturgies of humour” refers here to both principles of ordering as well as of unfolding an idea, which inform an act as humorous. In these instances of artistic activism, humour does not simply mark one characteristic or component of protest, but is indeed the embodied, performed means through which the protest is constituted. The article employs a reading of Mikhail Bakhtin’s work on the grotesque, and in doing so, adapts the concept originally developed in relation to literary texts to the study of artistic activism. Such a focus on the dramaturgies of humour leads to two notable insights: first, that protest using a ludic aesthetic creates and sustains a highly ambivalent relation between activists and their opponents, specifically through a playful questioning of the logic of protest in terms of opposition. Second, the dramaturgy of humour in protest reveals a strong historicity: each of the examples reference the past in sophisticated ways, and the shifting narratives of memory are integral to humour as a link between memory and imagination.
Jennie Reznek is Co- Artistic Director and Trustee of Magnet Theatre in Cape Town, South Africa. I turned away and she was gone is the fifth solo work that she has developed under the banner of ...Magnet Theatre. It was nominated for six awards and published by Modjaji Books in 2019. The interview took place in the framework of the research project on translation and performance (in collaboration with the University of Cape Town and the University of Amsterdam, 2016-19) in July 2017 at Adishakti Laboratory for Theatre Arts & Research in Pondicherry, India. Reznek shared her reflections on the artistic processes of translation in the solo performance I turned away and she was gone.
The articles in this special issue, and another that will follow in the next issue, arise from a three-year research project that brought together researchers and practitioners of theatre and ...performance from South Africa, India and the Netherlands to focus on translation and performance, particularly in a context of global power asymmetries and discontinuities. The project was generously funded by the National Research Foundation of South Africa with additional funding from the University of Cape Town, the Amsterdam Centre for Globalisation Studies and the Netherlands Institute of Cultural Analysis. The focus in the project was not so much translation in the linguistic sense, in which it is most commonly understood (although it did not ignore this aspect either). Rather, the focus was on translation in its root sense of ‘a carrying over’ across a much broader range of semiotic, sensory and inter-subjective forms and practices, including the conveying of gestures, styles, dramaturgy, and genres, moving across media, historical periods, cultural contexts and physical spaces.
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