8 to abolition to infinity (8 => abolition => ∞)

IF 0.8 3区 艺术学 0 THEATER THEATRE JOURNAL Pub Date : 2024-11-15 DOI:10.1353/tj.2024.a943396
Aaron Moore Ellis
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If I can see the ways I am perpetuating systemic oppressions, if I can see where I learned the behavior and how hard it is to unlearn it, I start to have more humility as I see the messiness of the communities I am a part of, the world I live in.</p> —adrienne maree brown<sup>1</sup> </blockquote> <h2>(a) identiteas(er)</h2> <p>Situating oneself at the forefront of an academic offering can sometimes serve to simply check a box; a basic requirement for \"good, balanced\" scholarship. Perhaps at its best, situating oneself evinces humility and reflective acknowledgment of identities and lived experiences, which critically inform the scholar's goals, methods, subjects, and sensitivities in their work. So who am I? aaron moore ellis. I take the lead from trailblazers who refuse capitalization. Who am I to do so? A wyte, nonbinary, ashkenazi jewish, irish, AMAB, m@sc-presenting person born into relative privilege, a sett!er on stolen land. … Who am I *not* to do so? What's at stake? What's at promise? And as to spelling: why write \"wyte\" instead of spelling out the color? Some may be familiar with the practice of intentionally respelling words associated with pain, trauma, and oppression, so that the experiences of those impacted by those words' referent is acknowledged and their reading experience softened. For those with privilege enough not to feel the resonant impact of these words, I invite you to consider my respelling as a reminder that privilege comes with built-in blinders to others' experiences, others for whom words matter in specific ways and whose lived experiences are deeply impacted by violence and oppression; that those people with those experiences matter; and that we—all of us—can seek ways to make life more breathable, more livable, more joyful. Who am I *not* to respell these words? What's at stake in respelling, or not?</p> <p>These are recurring questions—questions that don't stop me in my tracks or silence me, but rather stay on the move with me. I keep these questions with me as an <strong>[End Page E-19]</strong> invitation to others to see consonance—or dissonance—between how they witness me identify, what they hear me proclaim, and what they see me embody. That is to say, these questions invite myself into accountability—to my decisions, actions, identities, privileges, responsibilities, and abilities to respond to those most impacted by structural and interpersonal oppression, close by and across the world.</p> <p>As I write and edit this reflection between unceded Timucua, Anais, Seminole, and Miccosukee lands, and Lenapehoking, I am reminded that confessional scholarship and accountability may begin at the written word, but must follow and grow into action and intention, relational community connection, reflection and revision. It is no small task, and I am by no means holding myself as exemplary—I am simply acknowledging who and where I am and inviting accountability from within and without in pursuit of alternatives to the everyday into which I was born and into which I was acculturated.</p> <p>I am a latecomer to the world of theatre. I came to theatre as an activist-organizer and theory-head, seeking tools for existential and sociopolitical transformation. I found the infinite possibilities of the stage compelling. I imagined the theatre to be a site for experimenting and for co-creating transformative practices. Then, I met the theatre world.</p> <p>Until I saw the call for abolitionist scholars and practitioners to convene a session at the Association for Theatre in Higher Education (ATHE) conference in 2021, I had not heard of an abolitionist theatre collective or organization in an academic institution.<sup>2</sup> Leading up to the ATHE 2021 session, and since then, we have engaged with one another. 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Abstract

In lieu of an abstract, here is a brief excerpt of the content:

  • 8 to abolition to infinity (8 => abolition => ∞)
  • Aaron Moore Ellis (bio)

How do I hold a systemic analysis and approach when each system I am critical of is peopled, in part, by the same flawed and complex individuals that I love?

This question always leads me to self-reflection. If I can see the ways I am perpetuating systemic oppressions, if I can see where I learned the behavior and how hard it is to unlearn it, I start to have more humility as I see the messiness of the communities I am a part of, the world I live in.

—adrienne maree brown1

(a) identiteas(er)

Situating oneself at the forefront of an academic offering can sometimes serve to simply check a box; a basic requirement for "good, balanced" scholarship. Perhaps at its best, situating oneself evinces humility and reflective acknowledgment of identities and lived experiences, which critically inform the scholar's goals, methods, subjects, and sensitivities in their work. So who am I? aaron moore ellis. I take the lead from trailblazers who refuse capitalization. Who am I to do so? A wyte, nonbinary, ashkenazi jewish, irish, AMAB, m@sc-presenting person born into relative privilege, a sett!er on stolen land. … Who am I *not* to do so? What's at stake? What's at promise? And as to spelling: why write "wyte" instead of spelling out the color? Some may be familiar with the practice of intentionally respelling words associated with pain, trauma, and oppression, so that the experiences of those impacted by those words' referent is acknowledged and their reading experience softened. For those with privilege enough not to feel the resonant impact of these words, I invite you to consider my respelling as a reminder that privilege comes with built-in blinders to others' experiences, others for whom words matter in specific ways and whose lived experiences are deeply impacted by violence and oppression; that those people with those experiences matter; and that we—all of us—can seek ways to make life more breathable, more livable, more joyful. Who am I *not* to respell these words? What's at stake in respelling, or not?

These are recurring questions—questions that don't stop me in my tracks or silence me, but rather stay on the move with me. I keep these questions with me as an [End Page E-19] invitation to others to see consonance—or dissonance—between how they witness me identify, what they hear me proclaim, and what they see me embody. That is to say, these questions invite myself into accountability—to my decisions, actions, identities, privileges, responsibilities, and abilities to respond to those most impacted by structural and interpersonal oppression, close by and across the world.

As I write and edit this reflection between unceded Timucua, Anais, Seminole, and Miccosukee lands, and Lenapehoking, I am reminded that confessional scholarship and accountability may begin at the written word, but must follow and grow into action and intention, relational community connection, reflection and revision. It is no small task, and I am by no means holding myself as exemplary—I am simply acknowledging who and where I am and inviting accountability from within and without in pursuit of alternatives to the everyday into which I was born and into which I was acculturated.

I am a latecomer to the world of theatre. I came to theatre as an activist-organizer and theory-head, seeking tools for existential and sociopolitical transformation. I found the infinite possibilities of the stage compelling. I imagined the theatre to be a site for experimenting and for co-creating transformative practices. Then, I met the theatre world.

Until I saw the call for abolitionist scholars and practitioners to convene a session at the Association for Theatre in Higher Education (ATHE) conference in 2021, I had not heard of an abolitionist theatre collective or organization in an academic institution.2 Leading up to the ATHE 2021 session, and since then, we have engaged with one another. We now publish a Zine as a starting point and a provocation for ongoing praxis—action, reflection, and revision—toward liberationist, decarceral practice.3 Upon receiving word of this special...

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8 至废除至无穷大(8 => 废除 => ∞)
以下是内容的简要摘录,以代替摘要: 8 to abolition to infinity (8 => abolition => ∞) Aaron Moore Ellis (bio) 当我所批判的每个系统在一定程度上都是由我所爱的同样有缺陷的复杂个体所组成时,我如何坚持系统分析和方法?这个问题总是引导我进行自我反思。如果我能看到自己是如何延续系统性压迫的,如果我能看到自己是从哪里学到这种行为的,以及要想摆脱这种行为有多难,那么当我看到我所参与的社区、我所生活的世界的混乱时,我就会开始更加谦卑。-将自己置于学术研究的最前沿,有时可能只是为了打勾;这是 "好的、平衡的 "学术研究的基本要求。也许在最好的情况下,自我定位体现了谦逊以及对身份和生活经历的反思性认可,这对学者的工作目标、方法、主题和敏感性都有重要影响。我是谁?我从拒绝大写特写的开拓者那里学习。我是谁呢?一个出生在相对优越环境中的男性、非二元、阿什肯纳兹犹太裔、爱尔兰裔、AMAB、M@SC-Presenting人士,一个被盗土地上的定居者。......我*不*这样做?有什么利害关系?什么是承诺?至于拼写:为什么写 "wyte "而不拼出颜色?有些人可能对这种做法并不陌生,即故意重写与痛苦、创伤和压迫相关的词语,这样,受这些词语所指影响的人的经历就会得到承认,他们的阅读体验也会得到缓和。对于那些有足够特权而无法感受到这些词语的共鸣影响的人,我邀请你们把我的重读视为一种提醒,即特权带有对他人经历的内在遮蔽,对他人来说,词语以特定的方式很重要,他们的生活经历深受暴力和压迫的影响;那些有这些经历的人很重要;我们--我们所有人--都可以寻求让生活更透气、更宜居、更快乐的方法。我有什么资格不**重述这些话呢?重述或不重述有什么利害关系?这些都是反复出现的问题--这些问题不会让我停下脚步,也不会让我沉默,而是一直伴随着我前进。我把这些问题带在身边,是邀请他人看到他们目睹我的身份认同、听到我的宣讲以及看到我的体现之间的一致性或不一致性。也就是说,这些问题邀请我对自己的决定、行动、身份、特权、责任和能力负起责任,以回应那些受结构性压迫和人际压迫影响最大的人,无论是在身边还是在世界各地。当我在未受保护的蒂姆库亚人、阿奈斯人、塞米诺尔人和米科苏基人的土地上以及莱纳普霍金人的土地上撰写和编辑这篇反思文章时,我被提醒,忏悔式的学术研究和责任感可能始于书面文字,但必须随之而来,并发展为行动和意图、相关社区的联系、反思和修正。这不是一项小任务,我也绝不是要把自己作为典范,我只是承认我是谁,我在哪里,并邀请来自内部和外部的问责,以寻求替代我所出生和接受文化教育的日常生活。我是戏剧界的后来者。我是作为一名活动家、组织者和理论家来到戏剧界的,我在寻求生存和社会政治变革的工具。我发现舞台的无限可能性令人信服。我想象剧院是一个进行实验和共同创造变革实践的场所。然后,我遇到了戏剧界。在我看到呼吁废奴主义学者和实践者在 2021 年高等教育戏剧协会(ATHE)会议上召开一次会议之前,我从未听说过学术机构中有废奴主义戏剧团体或组织。现在,我们出版了一本《Zine》,作为持续实践--行动、反思和修正--的起点和激励,以实现解放主义、去阶级化的实践。
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来源期刊
THEATRE JOURNAL
THEATRE JOURNAL THEATER-
CiteScore
0.40
自引率
40.00%
发文量
87
期刊介绍: For over five decades, Theatre Journal"s broad array of scholarly articles and reviews has earned it an international reputation as one of the most authoritative and useful publications of theatre studies available today. Drawing contributions from noted practitioners and scholars, Theatre Journal features social and historical studies, production reviews, and theoretical inquiries that analyze dramatic texts and production.
期刊最新文献
Decarcerating the University: A Roundtable Discussion 8 to abolition to infinity (8 => abolition => ∞) Consent Pedagogies: Classroom Lessons from Intimacy Practice Looking at/for Disappearing John Brown The Unbearable Whiteness of John Brown: Theatrical Legacies and Performing Abolition
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