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2022, Injury and Intimacy
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16 pages
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This chapter explores the aesthetics of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019, artists and activists are beginning to feel let down by the failed promises of the movement. The incessant pressure to vocalise narratives of sexual harassment preclude self-care, rest and strategic (non) productivity by burdening womxn with the emotional labour of reliving the trauma in public. This chapter discusses the artistic works of Thandiwe Msebenzi and Lebohang Motaung in South Africa, and Vijila Chirappad, Vanitha Mathil (women’s wall) and Blank Noise in India to explore their engagement with rest, sleep, beauty, stillness and community as forms of performing refusal. It examines the workings of racialised capitalism and raises questions about labour and production – who has the right to leisure and who needs to keep working – and how they are intertwined with markers of class, caste, sexuality and gender. The discussion affirms the affective potential of art and performance as a powerful mode of creating community while #MeToo exhausts our faith in the legal infrastructures of the state.
Agenda, 2001
only risen to some prominence since apartheid's abolition and the 1994 democratic elections. Subsequently it has been utilised by South African artists to make apparent ways in which the body itself acts as a stage/screen/canvas/site for history, politics, culture, economics, race and social issues. This paper aims to explore how two female South African artists, Carol-anne Gainer and Tracey Rose, have utilised Performance Art as a site of gender resistance in the context of South Africa.
Theatre Topics, 2019
Acts of Transgression, edited by Jay Pather and Catherine Boulle, speaks to the aesthetics of crises observed in performance or "live art" in contemporary South Africa. The subversive nature of the performances discussed in this book is related to lingering emotions of anger, resentment, and dispossession, but also to a way of articulating the unsayable-the desire to know, to say, and to be (Braidotti 2011, 126). The authors contributing to this book question an understanding of art as mere representations of identities and humanist notions of self, rather positioning figurations as "embedded and embodied, social positions" (Braidotti 2011, 5), constantly in flux and operating as a process of teasing out new meanings of citizenship, agency, and relationality. Acts of Transgression is the product of Pather's and Boulle's longstanding interest in and engagement with performance practices in South Africa, supported by the Institute for Creative Arts at the University of Cape Town, where they are based. The volume consists of 15 chapters, divided into four sections, each addressing a different aspect of the multidisciplinary field of performance or "live art", as it is referred to in this book. The book contains engagements with a variety of artists' work by a diverse collection of authors, critics, and artist-writers, who each contribute in a meaningful way to the debates offered in this book. Although there are chapters offering fresh perspectives on well-known and established performance artists such as Tracey Rose, Steven Cohen, and Athi-Patra Ruga, many of the authors engage with emerging artists and practices which straddle boundaries between various art forms, such as dance and theatre, but also guerilla performances, protest, collaboration, and curation. Pather, in the introduction to the book, also makes
Georgina Maddox examines, through the lens of personal experience during the making of a short film, 'Bombay Longing', with filmmaker Shalini Kantayya , at the phenomenon of art and activism through the medium of independent short films. This paper is not shaped as a systematic and linear exposition of a well-worked out argument; rather, it carries marks of the fragmentary nature and episodic structure of the film itself. On one hand, I seek, in this paper, to locate the film in the arena of queer activism, I draw on concepts such as ‘outing’ and ‘closet’, ‘mainstream’ and ‘minority’, ‘self’ and ‘other’ to articulate the manner in which the logic of the film is implicated in the context of queer thought, queer issues. On the other hand, my paper seeks to reflect upon the implications of the entry of queer activism at the site of art. What happens to art when it becomes activist? The film is a three minute DV (digital video) presentation that was jointly directed by the two of us. The film thematizes queer identity: Bombay Longing dovetails between the personal and public in a manner that most art and often, much of literature does. To say that it occupies a political space would in that sense, not be incorrect although its stance is more understated. Put simply, it is not openly propagandist in making a statement about queer identity in a metropolis like Mumbai, but rather, allows the viewer to decode the tensions, possibilities and contradictions of such a subject position from the three personal narratives strung together. The central protagonist, the ‘artist’ herself, carries the narrative through public and private spaces negotiated by her, addressing what it means to travel these spaces as a queer person in a society which is largely heterosexist.
Journal of Dramatic Theory and Criticism
Humanities, 2022
Australia’s brutal carceral-border regime is a colonial system of intertwining systems of oppression that combine the prison-industrial complex and the border-industrial complex. It is a violent and multidimensional regime that includes an expanding prison industry and onshore and offshore immigration detention centres; locations of cruelty, and violent sites for staging contemporary politics and coloniality. This article shares insights into the making of a radical intersectional dance theatre work titled Jurrungu Ngan-ga by Marrugeku, Australia’s leading Indigenous and intercultural dance theatre company. The production, created between 2019–2021, brings together collaborations through and across Indigenous Australian, Kurdish, Iranian, Palestinian, Filipino, Filipinx, and Anglo settler performance, activism and knowledge production. The artistic, political and intellectual dimensions of the show reinforce each other to interrogate Australia’s brutal carceral regime and the concep...
South African Theatre Journal, 2020
The essay discusses Maya Rao's Walk and The Mothertongue Project's Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the city. Working with Chandra Talpade Mohanty's formulation of feminist solidarity (2013) and Boaventura de Sousa Santos's translation-as-dialogue (2014), I discuss the radical forms of feminist methodological imaginations attempted and nurtured by them. This essay examines the political and aesthetic potential of translatability of performance in the world of global asymmetries and the implications it holds for intersectional feminist conversations in the global South. https://www.tandfonline.com/doi/abs/10.1080/10137548.2020.1742781?journalCode=rthj20
Cultural Trends, 2023
Since the beginning of the COVID-19 pandemic, the global cultural and creative sector has experienced major transformations in the way performances are conceived of, produced, packaged, and sustained. The involuntary shift to the online (and now hybrid) models and platforms of showcasing have compelled artists not just to rethink performance itself but also to address larger global and local socio-political and economic issues. This paper aims to look at two short case studiesdance and theatreto underscore the transformations in "performance economy" in the pandemic. It considers the adaptability of these forms to newer idioms/platforms, and the creative labour involved in their sustenance through ongoing challenges. The study focusses on interviews of performers, and self-reflexive experiences of pedagogic training as a dancer through online apps. In doing so, the paper asks how cultural resistance, social citizenship and inclusivity in performing arts address questions of labour, inequality, and creative justice.
Convivial Publishing , 2022
The project “Scars and Scratches” was conceived in 2020 by three people from India, belonging to three different walks of life. The people are Soumali Roy, who is a home tutor and deeply engages with creative aspects like waste-craft, weaving, and painting; Amit Singh, who recently completed his high school and is an aspiring fashion designer; and Sayan Dey, who consistently oscillates between the hardcore academic and the free-flowing creative space. The purpose of building this project is to bypass the suffocating parameters of academic publishing and generate a warm and welcoming space of caring and sharing, through a set of visual narratives (accompanied by short descriptions) that would unpack existential narratives of painful existential challenges: queerness, motherhood, feminine being, caste hierarchies, gender-biases, toxic masculinities, urban dreams, and many more.
Theatre Topics, 2018
This essay offers an account of two case studies of theatrical performance in London and Cape Town, both of which raise and interrogate the interrelated concepts of protest theatre and public space. A production of Tunde Euba’s play Brothers by the Greenwich and Lewisham Young People’s Theatre (GLYPT) in London (2013–14) and the contemporaneous theatrical work and awareness-raising campaigns of the Sex Workers Education and Advocacy Taskforce (SWEAT) in Cape Town both use performance to question, diagnose, and protest multiple forms of violence perpetrated against marginalized urban populations, often at the hands of the state.
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