Abstract:The Canada Council for the Arts has long been the subject of analysis in theatre scholarship. Be it due to its policies, history, or evolution, it has taken a central role in shaping the possibilities available to Canadian artists. This piece attempts to harmonize much of the scholarship around the council with studies on the development of Canadian nationalism as a method of erasing settler-colonial legacies. Just as Canadian nationalism served to gloss over the realities of settler colonialism, the Canada Council was conceived to reaffirm this nationalism as a product of the Massey Commission. The article explores this artistic and political relationship through a chronological perspective on both the development of Canadian national identity and Canadian theatre funding. Throughout, the council's role in upholding an exclusionary vision of the Canadian nation remains consistent, involving the marginalization of Black, Indigenous, and racialized artists, as well as the reinforcing of a Eurocentric canon and conception of art. The council has attempted to correct its historical trajectory with mixed results. While the council has made progress in some respects, there continue to be systemic inequities deriving from its past practices that the council has yet to address. An understanding of the council's past and present brings into focus the best practices for its future: that the council ought to seek to incorporate oft-suggested measures that would set it on a more committed path toward decolonization.
{"title":"Decolonizing the Canada Council for the Arts: A Historical Perspective","authors":"Paxton Rodriguez","doi":"10.3138/ctr.192.007","DOIUrl":"https://doi.org/10.3138/ctr.192.007","url":null,"abstract":"Abstract:The Canada Council for the Arts has long been the subject of analysis in theatre scholarship. Be it due to its policies, history, or evolution, it has taken a central role in shaping the possibilities available to Canadian artists. This piece attempts to harmonize much of the scholarship around the council with studies on the development of Canadian nationalism as a method of erasing settler-colonial legacies. Just as Canadian nationalism served to gloss over the realities of settler colonialism, the Canada Council was conceived to reaffirm this nationalism as a product of the Massey Commission. The article explores this artistic and political relationship through a chronological perspective on both the development of Canadian national identity and Canadian theatre funding. Throughout, the council's role in upholding an exclusionary vision of the Canadian nation remains consistent, involving the marginalization of Black, Indigenous, and racialized artists, as well as the reinforcing of a Eurocentric canon and conception of art. The council has attempted to correct its historical trajectory with mixed results. While the council has made progress in some respects, there continue to be systemic inequities deriving from its past practices that the council has yet to address. An understanding of the council's past and present brings into focus the best practices for its future: that the council ought to seek to incorporate oft-suggested measures that would set it on a more committed path toward decolonization.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"29 - 31"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43383710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This collaborative article, written by a two-spirit Indigenous artist and a queer non-Indigenous scholar-artist with contributions by project collaborators, introduces the context and Indigenous principles of ethics that are woven into the making of the music video "Accountability," which premiered in 2021 at Pride Toronto. We first explain terminology and modes of artistic/activist collaboration, the particular conditions of its creation, and the major concerns expressed. In particular, the work addresses social violence that is directed at two-spirit people (two-spirit) both from outside and inside Indigenous communities. This violence is seen as a legacy of colonial oppression that has hurt the social fabric and value systems of Indigenous societies. As such, the video and the essay are thought of as healing devices and forms of anti-colonial critique and resistance. We then, using time stamps and screenshots from the music video as structural markers, explain in more detail how the creation of the music video as both an artistic and a community-making project integrates ethical and social values in its very process of making and being.
{"title":"Accountability. Intervention. Community.: On the Making of a Two-Spirit Music Video for Pride Toronto Summer 2021","authors":"Candy (Otsíkh:èta) Blair, A. Budde","doi":"10.3138/ctr.192.004","DOIUrl":"https://doi.org/10.3138/ctr.192.004","url":null,"abstract":"Abstract:This collaborative article, written by a two-spirit Indigenous artist and a queer non-Indigenous scholar-artist with contributions by project collaborators, introduces the context and Indigenous principles of ethics that are woven into the making of the music video \"Accountability,\" which premiered in 2021 at Pride Toronto. We first explain terminology and modes of artistic/activist collaboration, the particular conditions of its creation, and the major concerns expressed. In particular, the work addresses social violence that is directed at two-spirit people (two-spirit) both from outside and inside Indigenous communities. This violence is seen as a legacy of colonial oppression that has hurt the social fabric and value systems of Indigenous societies. As such, the video and the essay are thought of as healing devices and forms of anti-colonial critique and resistance. We then, using time stamps and screenshots from the music video as structural markers, explain in more detail how the creation of the music video as both an artistic and a community-making project integrates ethical and social values in its very process of making and being.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"14 - 21"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49552679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Signed music is a rapidly growing artistic practice that incorporates signed language lyrics and/or features non-lyric- and non-auditory-based pieces The first Deaf-led signed music theatre production, The Black Drum, was performed in Toronto, Canada, and Reims, France, in 2019. Examining The Black Drum's creative development and cast perceptions offers the opportunity for ethical consideration when sharing authentic experience in signed language onstage (that is, one aspect of ownership). For the first time, Deaf professionals felt open—'having permission'—to explore and play with their signed music performances in signed language theatre. This signed musical (and its script) also confronted social justice issues through sharing signing people's experiences on the stage for broad audiences. Deaf (signed language) performers, who experience oppression of their signed language in contemporary society, wished to remain true to their signed language artistic forms onstage while simultaneously engaging diverse audience members (both Deaf and hearing people) to witness and appreciate these signed language performers' unique contributions to humanity in a society dominated by spoken language. The need to express oneself fully relates to all human experience and ultimately enriches Deaf and hearing alike. Engaging diverse audience members meaningfully without sacrificing collective authentic creation and ownership among signing Deaf professionals makes The Black Drum unique and empowering in mainstream theatre.
{"title":"Ownership and Engagement in Performance Art: The Black Drum Signed Musical Theatre Case Study","authors":"Jody H. Cripps, A. Small, Ely Lyonblum","doi":"10.3138/ctr.192.003","DOIUrl":"https://doi.org/10.3138/ctr.192.003","url":null,"abstract":"Abstract:Signed music is a rapidly growing artistic practice that incorporates signed language lyrics and/or features non-lyric- and non-auditory-based pieces The first Deaf-led signed music theatre production, The Black Drum, was performed in Toronto, Canada, and Reims, France, in 2019. Examining The Black Drum's creative development and cast perceptions offers the opportunity for ethical consideration when sharing authentic experience in signed language onstage (that is, one aspect of ownership). For the first time, Deaf professionals felt open—'having permission'—to explore and play with their signed music performances in signed language theatre. This signed musical (and its script) also confronted social justice issues through sharing signing people's experiences on the stage for broad audiences. Deaf (signed language) performers, who experience oppression of their signed language in contemporary society, wished to remain true to their signed language artistic forms onstage while simultaneously engaging diverse audience members (both Deaf and hearing people) to witness and appreciate these signed language performers' unique contributions to humanity in a society dominated by spoken language. The need to express oneself fully relates to all human experience and ultimately enriches Deaf and hearing alike. Engaging diverse audience members meaningfully without sacrificing collective authentic creation and ownership among signing Deaf professionals makes The Black Drum unique and empowering in mainstream theatre.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"10 - 13"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44481731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article discusses Milo Rau's and the Ghent Ensemble's recent performance Orestes in Mosul (2019–2020) and the significance of representing ongoing conflict onstage. This article examines the ways in which the politics of recognition, a term coined by Charles Taylor and explored by many scholars after him, has given a renewed relevance to anagnorisis, a term coined by Aristotle and understood as a technical function of classical tragedy. Anagnorisis can be used as a means of accessing empathetic capacities that can in turn create an ethical framework for the reassessment of marginalized identities. In this way, anagnorisis ceases to be the realization of an erroneous action and becomes the protestation of an injustice and the structures of oppression that maintain and perpetuate it. Finally, this article addresses the controversy surrounding Milo Rau and Orestes in Mosul and concludes that at a time of major humanitarian crises, socially and politically engaged theatre can mean the difference between passively observing the practice of exploitation and actively practising solidarity.
摘要:本文讨论了米洛·劳和根特合奏团最近在摩苏尔的演出《俄瑞斯忒斯》(2019-2020)，以及在舞台上表现持续冲突的意义。本文考察了由查尔斯·泰勒(Charles Taylor)创造并在他之后被许多学者探索的“承认政治”(politics of recognition)与亚里士多德(Aristotle)创造并被理解为古典悲剧的技术功能的“anagnorisis”重新相关的方式。anagnoris可以作为一种获得同理心能力的手段，反过来又可以为重新评估边缘化身份创造一个伦理框架。通过这种方式，anagnosis不再是错误行为的实现，而成为对不公正的抗议，以及维持和延续它的压迫结构。最后，本文探讨围绕摩苏尔的Milo Rau和Orestes的争议，并得出结论，在重大人道主义危机时期，社会和政治参与的戏剧可能意味着被动观察剥削实践与积极实践团结之间的差异。
{"title":"\"How Could We Not Go to Mosul?\": Empathy, Anagnorisis, and the Politics of Recognition in Orestes in Mosul","authors":"Theodoros Ioannou","doi":"10.3138/ctr.192.012","DOIUrl":"https://doi.org/10.3138/ctr.192.012","url":null,"abstract":"Abstract:This article discusses Milo Rau's and the Ghent Ensemble's recent performance Orestes in Mosul (2019–2020) and the significance of representing ongoing conflict onstage. This article examines the ways in which the politics of recognition, a term coined by Charles Taylor and explored by many scholars after him, has given a renewed relevance to anagnorisis, a term coined by Aristotle and understood as a technical function of classical tragedy. Anagnorisis can be used as a means of accessing empathetic capacities that can in turn create an ethical framework for the reassessment of marginalized identities. In this way, anagnorisis ceases to be the realization of an erroneous action and becomes the protestation of an injustice and the structures of oppression that maintain and perpetuate it. Finally, this article addresses the controversy surrounding Milo Rau and Orestes in Mosul and concludes that at a time of major humanitarian crises, socially and politically engaged theatre can mean the difference between passively observing the practice of exploitation and actively practising solidarity.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"50 - 54"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44080613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Theatre of the Oppressed (TO) of Tehran, established in 2008, has been one of the few groups ardently practising applied theatre despite all the ideological and governmental limitations. This essay focuses on the TO of Tehran's community projects through the lens of ethics and engagement. The nature of TO-Teh's social engagement in the context of Iran is new, yet conservative; innovative, yet cautious. This brings out the question of the ethics of community theatre:How are ethics reinterpreted and morphed in a particular social condition in which the practitioner does not feel free enough to excavate the issue at hand? Applied theatre in communities underwritten with interiorized censorship and control finds a dual function; on the one hand, the bestowed freedom serves to boost social engagement; on the other hand, this engagement is filtered by dominant social norms and decrees.
摘要:成立于2008年的德黑兰“被压迫者剧院”(Theatre of The oppression, TO)是少数几个不顾意识形态和政府限制，积极实践应用型戏剧的团体之一。本文主要从伦理和参与的角度来探讨德黑兰社区项目的目标。在伊朗的背景下，TO-Teh的社会参与性质是新的，但保守的;创新，但谨慎。这就引出了社区戏剧的伦理问题:在一个特定的社会条件下，当从业者没有足够的自由去挖掘手头的问题时，伦理是如何被重新解释和变形的?在受到内部审查和控制的社区中，应用戏剧具有双重功能;一方面，被赋予的自由有助于提高社会参与度;另一方面，这种参与又受到主流社会规范和法令的过滤。
{"title":"The Theatre of the Oppressed in Tehran: Dilemma of Ethics and Engagement","authors":"Narges Montakhabi Bakhtvar","doi":"10.3138/ctr.192.005","DOIUrl":"https://doi.org/10.3138/ctr.192.005","url":null,"abstract":"Abstract:The Theatre of the Oppressed (TO) of Tehran, established in 2008, has been one of the few groups ardently practising applied theatre despite all the ideological and governmental limitations. This essay focuses on the TO of Tehran's community projects through the lens of ethics and engagement. The nature of TO-Teh's social engagement in the context of Iran is new, yet conservative; innovative, yet cautious. This brings out the question of the ethics of community theatre:How are ethics reinterpreted and morphed in a particular social condition in which the practitioner does not feel free enough to excavate the issue at hand? Applied theatre in communities underwritten with interiorized censorship and control finds a dual function; on the one hand, the bestowed freedom serves to boost social engagement; on the other hand, this engagement is filtered by dominant social norms and decrees.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"22 - 24"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41927025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Today's youth bear witness to growing economic disparities, class inequalities, migrant otherings, and prejudicial thinking. Now more than ever, young people across Canada are asking adults in positions of power to become allies and start creating more spaces for their voices to be heard. Often learning beyond the classroom from their peers, through multimodal ways, young people have transhistorically exemplified creative demonstrations of resilience, solidarity, and tenacity, both online and in the streets.Within the research, practice, and scholarship of applied theatre, children and young people make up a large proportion of the documented case studies that are interpreted and represented through an adult lens. This in turn poses important ethical questions about engagement and representation strategies of their lives, particularly when a large proportion of the work is written from a Western perspective. This article first navigates a personal perspective on ethics in socially engaged theatre. I then reflect on key principles of intersecting practices in radical youth pedagogies and critical community-engaged research that will inform my practice for future ethical engagements with youths in socially engaged theatre.
{"title":"Critical Community-Engaged Scholarship: An Antidote to the Representation and Interpretation of Young People's Experiences in Socially Engaged Theatre?","authors":"Jemma Llewellyn","doi":"10.3138/ctr.192.006","DOIUrl":"https://doi.org/10.3138/ctr.192.006","url":null,"abstract":"Abstract:Today's youth bear witness to growing economic disparities, class inequalities, migrant otherings, and prejudicial thinking. Now more than ever, young people across Canada are asking adults in positions of power to become allies and start creating more spaces for their voices to be heard. Often learning beyond the classroom from their peers, through multimodal ways, young people have transhistorically exemplified creative demonstrations of resilience, solidarity, and tenacity, both online and in the streets.Within the research, practice, and scholarship of applied theatre, children and young people make up a large proportion of the documented case studies that are interpreted and represented through an adult lens. This in turn poses important ethical questions about engagement and representation strategies of their lives, particularly when a large proportion of the work is written from a Western perspective. This article first navigates a personal perspective on ethics in socially engaged theatre. I then reflect on key principles of intersecting practices in radical youth pedagogies and critical community-engaged research that will inform my practice for future ethical engagements with youths in socially engaged theatre.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"25 - 28"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47009986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Postmarginal Edmonton explored the intersections of political multilogues among various theatre communities (Indigenous, Black, racialized, d/Deaf, LGBTQ2S+, Disabled, and neurodiverse). The retreats use an experiential learning pedagogy of storytelling, discussion, and physical practice to tease out perspectives of créolisation that can respond to the paradoxes and pitfalls of contemporary identity politics without removing the awareness of uneven power relationships of coloniality. Underpinning this poetical-philosophical perspective is an approach of generative communication that is inspired by and extends the concept of 'ethical relationality.'After this theoretical framing, Dr. Ndejuru reflects on the qualities the organizers seek, look for, or feel are important in the creation of the retreat. What guides the choices we make as we prepare the conditions for postmarginal work? How do we value the process that then takes place? In our discussion, we pay particular attention to the retreat's use of storytelling and embodied workshops. The storytellers, the participants, and the lenses are all carefully considered, chosen, or vetted in relation to the question guiding our event.Dr. Babayants rounds up our offering with a report on and responses to Le besoin d'être mal-armé: Multilingual Dramaturgy, a workshop on the possibilities of stage multilingualism and multilingual dramaturgy. The workshop invites participants to explore working in languages they speak fluently, languages they are learning, and those they have never had any exposure to. It also challenges the notions of mandatory translation into official languages, that is, the languages of power. The participants are invited to consider how practising multilingualism during collective creation can lead to new dramaturgical forms as well as to queering dominant monolingual frameworks that tend to prioritize colonizer languages.
摘要：《后边缘埃德蒙顿》探讨了不同戏剧社区（土著、黑人、种族化、聋哑、LGBTQ2S+、残疾人和神经多样性）之间政治多元群体的交叉点。务虚会使用讲故事、讨论和物理实践的体验式学习教学法，梳理出可以应对当代身份政治的悖论和陷阱的创新视角，而不会消除对殖民主义不均衡权力关系的认识。这种诗意哲学视角的基础是一种受“伦理关系”概念启发并扩展的生成沟通方法在这一理论框架之后，Ndejuru博士反思了组织者寻求、寻找或认为在务虚会的创建中很重要的品质。在我们为边缘后工作准备条件时，是什么指导我们做出选择？我们如何评估随后发生的过程？在我们的讨论中，我们特别注意务虚会对讲故事和具体研讨会的使用。讲故事的人、参与者和镜头都是经过仔细考虑、选择或审查的，与指导我们活动的问题有关。Babayants博士在我们的演讲中发表了一份关于Le besoin d‘être mal armé：多语戏剧的报告和回应，这是一个关于舞台多语和多语戏剧可能性的研讨会。研讨会邀请参与者探索用他们流利的语言、正在学习的语言和从未接触过的语言工作。它还挑战了强制翻译成官方语言，即权力语言的概念。与会者被邀请考虑在集体创作过程中使用多种语言如何导致新的戏剧形式，以及如何形成倾向于优先考虑殖民者语言的主导单语框架。
{"title":"Relational Perspectives on Change: The Theory, Stories, and Practice of Postmarginality","authors":"Lisa Ndejuru, A. Babayants, Peter Farbridge","doi":"10.3138/ctr.192.010","DOIUrl":"https://doi.org/10.3138/ctr.192.010","url":null,"abstract":"Abstract:Postmarginal Edmonton explored the intersections of political multilogues among various theatre communities (Indigenous, Black, racialized, d/Deaf, LGBTQ2S+, Disabled, and neurodiverse). The retreats use an experiential learning pedagogy of storytelling, discussion, and physical practice to tease out perspectives of créolisation that can respond to the paradoxes and pitfalls of contemporary identity politics without removing the awareness of uneven power relationships of coloniality. Underpinning this poetical-philosophical perspective is an approach of generative communication that is inspired by and extends the concept of 'ethical relationality.'After this theoretical framing, Dr. Ndejuru reflects on the qualities the organizers seek, look for, or feel are important in the creation of the retreat. What guides the choices we make as we prepare the conditions for postmarginal work? How do we value the process that then takes place? In our discussion, we pay particular attention to the retreat's use of storytelling and embodied workshops. The storytellers, the participants, and the lenses are all carefully considered, chosen, or vetted in relation to the question guiding our event.Dr. Babayants rounds up our offering with a report on and responses to Le besoin d'être mal-armé: Multilingual Dramaturgy, a workshop on the possibilities of stage multilingualism and multilingual dramaturgy. The workshop invites participants to explore working in languages they speak fluently, languages they are learning, and those they have never had any exposure to. It also challenges the notions of mandatory translation into official languages, that is, the languages of power. The participants are invited to consider how practising multilingualism during collective creation can lead to new dramaturgical forms as well as to queering dominant monolingual frameworks that tend to prioritize colonizer languages.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"41 - 45"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42065680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article discusses Built of Earth, an artistic research project by the author in collaboration with Mexico City-based architect Octavio Castro Gallardo. The work-in-progress—an experimental documentary project consisting of a short film, a publication, and a site-specific installation—explores the restoration of Castro Gallardo’s 200-year-old adobe family home in the town of Jamiltepec, Oaxaca, Mexico, that was damaged by an earthquake that shook the Pacific coast in February 2018. This article situates the restoration of the Casona within the discourses of vernacular earthen architecture and performance studies, describing how, in addition to being the site of various cultural performances, the Casona itself performs cultural memory. Heyn-Jones discusses the relationships—among humans, more-than-humans, and other actants—that permeate and haunt the adobe walls of this spectacular ruin. Heyn-Jones’s essay offers a provisional discussion of local seismic cultures, aspects of architectural material culture that reactively or preventively resist earthquake damage, and the way these manifest in the Casona. In contrast to the centuries-old adobe Casona are the concrete-block dwellings that surround it and that are ubiquitous across Mexico. This article situates this vernacular within the discourse of the ‘remittance house’ and discusses the materialities and temporalities of these ‘dream houses’ in the context of the Casona. Finally, this article offers some thoughts on architectural animism and how it might manifest in the Casona, this singular dwelling, built of earth.
{"title":"Built of Earth: The Casona and Vernacular Earthen Architecture in Oaxaca, Mexico","authors":"Zoë Heyn-Jones","doi":"10.3138/ctr.191.002","DOIUrl":"https://doi.org/10.3138/ctr.191.002","url":null,"abstract":"Abstract:This article discusses Built of Earth, an artistic research project by the author in collaboration with Mexico City-based architect Octavio Castro Gallardo. The work-in-progress—an experimental documentary project consisting of a short film, a publication, and a site-specific installation—explores the restoration of Castro Gallardo’s 200-year-old adobe family home in the town of Jamiltepec, Oaxaca, Mexico, that was damaged by an earthquake that shook the Pacific coast in February 2018. This article situates the restoration of the Casona within the discourses of vernacular earthen architecture and performance studies, describing how, in addition to being the site of various cultural performances, the Casona itself performs cultural memory. Heyn-Jones discusses the relationships—among humans, more-than-humans, and other actants—that permeate and haunt the adobe walls of this spectacular ruin. Heyn-Jones’s essay offers a provisional discussion of local seismic cultures, aspects of architectural material culture that reactively or preventively resist earthquake damage, and the way these manifest in the Casona. In contrast to the centuries-old adobe Casona are the concrete-block dwellings that surround it and that are ubiquitous across Mexico. This article situates this vernacular within the discourse of the ‘remittance house’ and discusses the materialities and temporalities of these ‘dream houses’ in the context of the Casona. Finally, this article offers some thoughts on architectural animism and how it might manifest in the Casona, this singular dwelling, built of earth.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"13 - 19"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43825602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the complex meditation on domestic environments as relational spaces in Hurmat Ain and Rabbya Naseer’s solo and collaborative art practices. Often rooted in physical sites and material elements of domesticity—from live performances in bedrooms and kitchens to installations with textiles and food—their works orchestrate intimate situations where the meeting of performer and spectator doubles as an encounter between visitor and inhabitant, citizen and foreigner, guest and host. In doing so, the artists reveal how practices of hospitality—the everyday rituals through which ‘home’ is enacted and extended to others—serve to uphold cultural, patriarchal, and nationalist values, while simultaneously opening up space for their transformation.
{"title":"When the Crow Caws: Performance and the Relational Politics of Hospitality in Hurmat Ain and Rabbya Naseer’s Art Practice","authors":"Laura Levin","doi":"10.3138/ctr.191.008","DOIUrl":"https://doi.org/10.3138/ctr.191.008","url":null,"abstract":"Abstract:This article examines the complex meditation on domestic environments as relational spaces in Hurmat Ain and Rabbya Naseer’s solo and collaborative art practices. Often rooted in physical sites and material elements of domesticity—from live performances in bedrooms and kitchens to installations with textiles and food—their works orchestrate intimate situations where the meeting of performer and spectator doubles as an encounter between visitor and inhabitant, citizen and foreigner, guest and host. In doing so, the artists reveal how practices of hospitality—the everyday rituals through which ‘home’ is enacted and extended to others—serve to uphold cultural, patriarchal, and nationalist values, while simultaneously opening up space for their transformation.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"54 - 61"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41288108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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