{"title":"Ô Kanata","authors":"Yves Sioui Durand, Catherine Joncas","doi":"10.3138/tric.41.1.149","DOIUrl":"https://doi.org/10.3138/tric.41.1.149","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84149376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In May 2015, former Guantanamo Bay detainee Omar Khadr was released from the Bowden Institution in Alberta. Khadr’s return to society followed 14 years of incarceration for an act that he may not have committed, which may not have been a crime, which took place while he was technically a child, and which was judged by a military tribunal that has questionable status in Canadian law.This article argues that Khadr’s long imprisonment was a political decision by US and Canadian authorities that required them to use performativity to suspend the law, depriving Khadr of his rights under American law, the Canadian Charter, and various protocols of international law. This use of performance to undermine law exposes a performative gap in the law: a space in the law that allows it to be moved and shaped by performative acts. Through these acts, Khadr became effectively stateless for a period in time: a citizen-in-exception. Building from Giorgio Agamben’s theory of the state of exception, this paper draws out the role played by performativity in the suspension of law by law. Importantly, the process that led to Khadr’s situation was racially charged from beginning to end. His situation is one manifestation of the way that Muslims have been “cast out” of Western law, as Sherene Razack puts it, since 9/11.
{"title":"Citizen in Exception: Omar Khadr and the Performative Gap in the Law","authors":"Matt Jones","doi":"10.3138/TRIC.41.1.88","DOIUrl":"https://doi.org/10.3138/TRIC.41.1.88","url":null,"abstract":"In May 2015, former Guantanamo Bay detainee Omar Khadr was released from the Bowden Institution in Alberta. Khadr’s return to society followed 14 years of incarceration for an act that he may not have committed, which may not have been a crime, which took place while he was technically a child, and which was judged by a military tribunal that has questionable status in Canadian law.This article argues that Khadr’s long imprisonment was a political decision by US and Canadian authorities that required them to use performativity to suspend the law, depriving Khadr of his rights under American law, the Canadian Charter, and various protocols of international law. This use of performance to undermine law exposes a performative gap in the law: a space in the law that allows it to be moved and shaped by performative acts. Through these acts, Khadr became effectively stateless for a period in time: a citizen-in-exception. Building from Giorgio Agamben’s theory of the state of exception, this paper draws out the role played by performativity in the suspension of law by law. Importantly, the process that led to Khadr’s situation was racially charged from beginning to end. His situation is one manifestation of the way that Muslims have been “cast out” of Western law, as Sherene Razack puts it, since 9/11.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81835407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Princess White Deer’s Show Blanket: Brokering Popular Indigenous Performance Across International Borders","authors":"C. Bold","doi":"10.3138/TRIC.41.1.39","DOIUrl":"https://doi.org/10.3138/TRIC.41.1.39","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86252243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Encounters on Contested Lands joins an ongoing conversation around the challenges and possibilities of decolonization from the perspective of Performance Studies, and represents an important contribution to decolonial thought and practice across the Americas. Specifically, it broadens this conversation by offering a much-needed investigation, in English, of decolonization and performance read in relation to Quebecois claims of sovereignty. The project reveals Quebec as a place of competing sovereignties, focusing on contemporary encounters between Indigenous peoples and what Burelle calls the French Québécois de souche—French-speaking white descendants of early French settlers, who were colonized by the British and later by Anglo Canadians. Burelle pushes against a long-time narrative of Quebec as a colonized minority, and makes visible the white possessive logic that connects English and French Canadian colonial projects, highlighting how Quebec’s history of suffering and practices of selective remembering have been used to assert a Québécois de souche nationalist project. Through her analysis of a range of cultural and political performances, Burelle exposes the discursive and performative strategies of dispossession of Indigenous peoples that have made this project possible, arguing throughout that Quebec’s imagined community is still unable “to accommodate (let alone comprehend) the concept of Indigenous sovereignty” (16). As a settler scholar, Burelle does not shy away from her positionality as Québécoise de souche, and offers a range of strategies for settler scholars to engage productively with their own accountability. Burelle’s introduction explicitly outlines her choices in nomenclature and citation, acknowledging the politics of naming and the importance of positioning theory in relation to the places and peoples discussed.
《在争议土地上的相遇》从行为研究的角度加入了关于非殖民化的挑战和可能性的持续对话，对整个美洲的非殖民化思想和实践做出了重要贡献。具体来说，它提供了一个非常需要的调查，用英语，关于非殖民化和与魁北克人主权主张有关的表现，从而拓宽了这一对话。该项目揭示了魁北克是一个主权竞争的地方，重点关注土著人民和布雷勒所说的法国quacei -早期法国定居者的法语白人后裔之间的当代相遇，这些殖民者被英国人和后来的盎格鲁加拿大人殖民。Burelle推翻了魁北克作为殖民地少数民族的长期叙述，并揭示了连接英国和法属加拿大殖民项目的白人占有逻辑，突出了魁北克的苦难历史和选择性记忆的做法如何被用来维护quacei - ssouche民族主义项目。通过她对一系列文化和政治表演的分析，Burelle揭示了剥夺土著人民的话语和表演策略，这些策略使这个项目成为可能，她认为魁北克想象中的社区仍然无法“适应(更不用说理解)土著主权的概念”(16)。作为一名移民学者，Burelle并没有回避她作为qusambsamicise de souche的地位，并为移民学者提供了一系列策略，使他们能够有效地承担自己的责任。Burelle的引言明确地概述了她在命名和引用方面的选择，承认命名的政治和定位理论与所讨论的地方和民族的重要性。
{"title":"Julie Burelle, Encounters on Contested Lands. Indigenous Performances of Sovereignty and Nationhood in Québec","authors":"Martha Herrera-Lasso González","doi":"10.3138/tric.40.1_2.170","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.170","url":null,"abstract":"Encounters on Contested Lands joins an ongoing conversation around the challenges and possibilities of decolonization from the perspective of Performance Studies, and represents an important contribution to decolonial thought and practice across the Americas. Specifically, it broadens this conversation by offering a much-needed investigation, in English, of decolonization and performance read in relation to Quebecois claims of sovereignty. The project reveals Quebec as a place of competing sovereignties, focusing on contemporary encounters between Indigenous peoples and what Burelle calls the French Québécois de souche—French-speaking white descendants of early French settlers, who were colonized by the British and later by Anglo Canadians. Burelle pushes against a long-time narrative of Quebec as a colonized minority, and makes visible the white possessive logic that connects English and French Canadian colonial projects, highlighting how Quebec’s history of suffering and practices of selective remembering have been used to assert a Québécois de souche nationalist project. Through her analysis of a range of cultural and political performances, Burelle exposes the discursive and performative strategies of dispossession of Indigenous peoples that have made this project possible, arguing throughout that Quebec’s imagined community is still unable “to accommodate (let alone comprehend) the concept of Indigenous sovereignty” (16). As a settler scholar, Burelle does not shy away from her positionality as Québécoise de souche, and offers a range of strategies for settler scholars to engage productively with their own accountability. Burelle’s introduction explicitly outlines her choices in nomenclature and citation, acknowledging the politics of naming and the importance of positioning theory in relation to the places and peoples discussed.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87930872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The WeeFestival, English Canada’s first performance festival dedicated to children from ages 0 to 5, acts as an advocate for the early years demographic and for the artists who create for them through three key elements of festival structure: programming, space, and creative/artistic exchange. Engaging with research by Ben Fletcher-Watson, Lise Hovik, Matthew Reason, and Adele Senior, this article uses company archives, artist interviews, and the writer’s personal experiences to analyze how the WeeFestival temporarily establishes an alternative public sphere that challenges policy-makers, funders, and artists to rethink relationships between arts, very young citizens, and urban life. Even though very young citizens may not initially know that they want to experience art, the festival attends to the interests and responses of young people, demonstrates respect for their capacity to be emotionally and intellectually engaged by artful and thoughtful productions, and establishes festivalized spaces that put an alternative public sphere into action, gesturing to the possibility of real social change. Taking into account the significance of programming for artists, educators, and policy-makers alongside the significance of meaningful audience-artist exchange, the analysis suggests that events like the WeeFestival have the capacity to gently shift how urban dwellers perceive very young children and the way they interact with the arts in daily life.
{"title":"A Small Festival for Small People: The WeeFestival as Advocacy","authors":"H. F. Fitzsimmons Frey","doi":"10.3138/tric.40.1_2.64","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.64","url":null,"abstract":"The WeeFestival, English Canada’s first performance festival dedicated to children from ages 0 to 5, acts as an advocate for the early years demographic and for the artists who create for them through three key elements of festival structure: programming, space, and creative/artistic exchange. Engaging with research by Ben Fletcher-Watson, Lise Hovik, Matthew Reason, and Adele Senior, this article uses company archives, artist interviews, and the writer’s personal experiences to analyze how the WeeFestival temporarily establishes an alternative public sphere that challenges policy-makers, funders, and artists to rethink relationships between arts, very young citizens, and urban life. Even though very young citizens may not initially know that they want to experience art, the festival attends to the interests and responses of young people, demonstrates respect for their capacity to be emotionally and intellectually engaged by artful and thoughtful productions, and establishes festivalized spaces that put an alternative public sphere into action, gesturing to the possibility of real social change. Taking into account the significance of programming for artists, educators, and policy-makers alongside the significance of meaningful audience-artist exchange, the analysis suggests that events like the WeeFestival have the capacity to gently shift how urban dwellers perceive very young children and the way they interact with the arts in daily life.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"118 5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82866026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Au Canada comme ailleurs, la commodification de la culture en événements festivaliers (Bennett et al.) va bon train. En effet, les festivals de musique, de cinéma et de culture s’y multiplient comme des champignons; certains festivals, comme le Fungus Among Us de Whistler, en Colombie-Britannique, se consacrent même à ce modeste organisme. Du Sound Symposium de Saint-Jean (Terre-Neuve) au festival Fringe de Victoria, en passant par le festival Island Unplugged de l’île Pelée (le point le plus au sud du Canada) et le festival des arts Alianait d’Iqaluit, au Nunavut, les festivals parsèment le paysage théâtral de ce territoire que l’on appelle aujourd’hui le Canada. Partout au pays, ils font de petites localités rurales des destinations touristiques et transforment des centres urbains en « villes festivalières » (voir Johannson, Thomasson). En travaillant au Cambridge Companion to International Theatre Festivals, j’ai compilé une liste de plus de quarante festivals internationaux de théâtre, de performance et d’arts multidisciplinaires au Canada, à laquelle il faudrait ajouter les festivals de musique ou de son, de cirque et d’arts visuels. S’y ajoutent encore divers rassemblements shakespeariens : le festival Shakespeare by the Sea sur la côte Est, Bard on the Beach en Colombie-Britannique, la programmation des théâtres de répertoire à Stratford et à Niagaraon-the-Lake, ou encore les nombreux festivals sans composante internationale comme le festival sans lieu fixe qu’est le Magnetic North. Il ne faudrait pas oublier non plus les vingtet-un membres de l’association canadienne de festivals Fringe (auxquels s’ajoutent neuf membres basés aux États-Unis), ni les autres festivals « rebelles » de cet ordre.
在加拿大和其他地方一样，文化在节日活动中的商品化(Bennett et al.)正在进行中。事实上，音乐、电影和文化节如雨后春笋般涌现;一些节日，如在不列颠哥伦比亚省惠斯勒举行的“我们中间的真菌”，甚至致力于这个规模不大的生物。电影节Sound圣约翰座谈会(纽芬兰)边缘的维多利亚岛,途经Island音乐节Unplugged晒伤(加拿大最南面的点)和艺术节Alianait Nunavut d’Iqaluit、节庆戏剧版图遍布这个所谓今天加拿大境内。在全国范围内，他们把小的农村社区变成了旅游目的地，把城市中心变成了“节日城镇”(见约翰森，托马森)。在剑桥国际戏剧节指南工作期间，我编制了一份加拿大40多个国际戏剧、表演和多学科艺术节的名单，其中还包括音乐、声音、马戏和视觉艺术节。除此之外,还有各种集会:莎士比亚戏剧节by the Sea东海岸,巴德on the Beach)在不列颠哥伦比亚,斯特拉特福剧院的曲目,并编程Niagaraon-the-Lake,甚至许多电影节等国际电影节部分无固定场所——Magnetic North。我们也不应该忘记加拿大边缘艺术节协会的21个成员(加上9个美国成员)，以及其他类似的“反叛”艺术节。
{"title":"Présentation : Pleins feux sur les festivals","authors":"Richard G. Knowles","doi":"10.3138/tric.40.1_2.5","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.5","url":null,"abstract":"Au Canada comme ailleurs, la commodification de la culture en événements festivaliers (Bennett et al.) va bon train. En effet, les festivals de musique, de cinéma et de culture s’y multiplient comme des champignons; certains festivals, comme le Fungus Among Us de Whistler, en Colombie-Britannique, se consacrent même à ce modeste organisme. Du Sound Symposium de Saint-Jean (Terre-Neuve) au festival Fringe de Victoria, en passant par le festival Island Unplugged de l’île Pelée (le point le plus au sud du Canada) et le festival des arts Alianait d’Iqaluit, au Nunavut, les festivals parsèment le paysage théâtral de ce territoire que l’on appelle aujourd’hui le Canada. Partout au pays, ils font de petites localités rurales des destinations touristiques et transforment des centres urbains en « villes festivalières » (voir Johannson, Thomasson). En travaillant au Cambridge Companion to International Theatre Festivals, j’ai compilé une liste de plus de quarante festivals internationaux de théâtre, de performance et d’arts multidisciplinaires au Canada, à laquelle il faudrait ajouter les festivals de musique ou de son, de cirque et d’arts visuels. S’y ajoutent encore divers rassemblements shakespeariens : le festival Shakespeare by the Sea sur la côte Est, Bard on the Beach en Colombie-Britannique, la programmation des théâtres de répertoire à Stratford et à Niagaraon-the-Lake, ou encore les nombreux festivals sans composante internationale comme le festival sans lieu fixe qu’est le Magnetic North. Il ne faudrait pas oublier non plus les vingtet-un membres de l’association canadienne de festivals Fringe (auxquels s’ajoutent neuf membres basés aux États-Unis), ni les autres festivals « rebelles » de cet ordre.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90621951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following is a conversation between Miriam Ginestier, Moynan King, and me on the topic of the romance between the Edgy Women Festival and Hysteria: A Festival of Women. Montreal’s Edgy Women Festival, organized by Ginestier and produced by Studio 303, ran in many formations from 1994–2016. Toronto’s Hysteria was co-founded by King and Kelly Thornton and produced by Buddies in Bad Times Theatre and Nightwood Theatre from 2003–2004 and then directed by King and produced solely by Buddies from 2004–2009. During Hysteria’s years of existence, the two festivals shared some artists, as well as aesthetic curatorial-social-political sensibilities.
{"title":"Edgy + Hysteria: Not Like Sisters, or How Montreal’s Edgy Women and Toronto’s Hysteria Festivals Got It On Across Space and Time","authors":"T. Cowan","doi":"10.3138/tric.40.1_2.118","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.118","url":null,"abstract":"The following is a conversation between Miriam Ginestier, Moynan King, and me on the topic of the romance between the Edgy Women Festival and Hysteria: A Festival of Women. Montreal’s Edgy Women Festival, organized by Ginestier and produced by Studio 303, ran in many formations from 1994–2016. Toronto’s Hysteria was co-founded by King and Kelly Thornton and produced by Buddies in Bad Times Theatre and Nightwood Theatre from 2003–2004 and then directed by King and produced solely by Buddies from 2004–2009. During Hysteria’s years of existence, the two festivals shared some artists, as well as aesthetic curatorial-social-political sensibilities.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80194599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What follows is an interview (over Skype) conducted by Keren Zaiontz in December 2017 with Deborah Pearson, founder of Forest Fringe, an artist collective she runs with Ira Brand and Andy Field, in the UK, and Joyce Rosario, Associate Artistic Director of the PuSh International Performing Arts Festival in Vancouver. At the time of this conversation, both Pearson and Rosario were in a series of remarkable professional transitions. Rosario, then Director of Programming, was at the helm of PuSh as interim Artistic Director. Norman Armour had stepped down from his position in April 2018, after fifteen years of managing the festival. Since the appointment, in 2019, of Franco Boni to Executive and Artistic Director, Rosario has moved into her current role as Associate. In 2017, Pearson and her Forest Fringe co-directors had rounded off ten years of curating groundbreaking work at the Edinburgh Festivals. They are currently producing an experimental narrative feature film, shot on location in the Channel Islands, as part of a company residency at ArtHouse Jersey.
{"title":"“Festival Sites: The Civic and Collective Life of Curatorial Practice” An Interview with Deborah Pearson and Joyce Rosario","authors":"Keren Zaiontz","doi":"10.3138/tric.40.1_2.153","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.153","url":null,"abstract":"What follows is an interview (over Skype) conducted by Keren Zaiontz in December 2017 with Deborah Pearson, founder of Forest Fringe, an artist collective she runs with Ira Brand and Andy Field, in the UK, and Joyce Rosario, Associate Artistic Director of the PuSh International Performing Arts Festival in Vancouver. At the time of this conversation, both Pearson and Rosario were in a series of remarkable professional transitions. Rosario, then Director of Programming, was at the helm of PuSh as interim Artistic Director. Norman Armour had stepped down from his position in April 2018, after fifteen years of managing the festival. Since the appointment, in 2019, of Franco Boni to Executive and Artistic Director, Rosario has moved into her current role as Associate. In 2017, Pearson and her Forest Fringe co-directors had rounded off ten years of curating groundbreaking work at the Edinburgh Festivals. They are currently producing an experimental narrative feature film, shot on location in the Channel Islands, as part of a company residency at ArtHouse Jersey.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"15 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72452074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This book documents cultural encounters facilitated in immersive role-play scenarios of military and counterinsurgency training, dark tourism, and pedagogy based on history, topography, and the politics of human rights violations. Among the four case studies, two concern training for North American combatants engaged in declared and covert wars in the Middle East; two feature Indigenous cultures claiming control over their narratives, designed to proactively alter a people’s future; and whereas one relies on a built simulation three others utilize the natural landscape to shape encounters. Like studies by Scott Magelssen and Coco Fusco, among others, Natalie Alvarez’s work is invested in formal characteristics of the cases, such as live immersive situations, for paradigm-building. Yet, more importantly, it is cultural ethnography that first destabilizes then reorients the ethnographer’s understanding of kinds of knowledge and leads to sensitization to local cultures and ethical experiences of learning. It matters less whether the cases cohere in terms of formal elements of performance than that, through field work and ethnographic reflection, performance is indispensable in promoting personal encounters imbued with empathy. Over the course of many years, Alvarez’s field work—at CFB Camp Wainwright’s Afghan Village training site, the private company Aeneas Group International’s course on Countering Insurgency in Complex Environments held in the Utah mountains, a nighttime walk led by Indigenous Hñahñu in Hildalgo northeast of Mexico City simulating perils encountered by border-crossing migrants, and a tour of Shoal Lake 40 Reserve conducted by a community leader and settler-ally through this Anishinaabe reserve in southeastern Manitoba—accumulates into a profound meditation on experiences of encounter.
{"title":"Natalie Alvarez, Immersions in Cultural Difference: Tourism, War, Performance","authors":"Tracy C. Davis","doi":"10.3138/tric.40.1_2.168","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.168","url":null,"abstract":"This book documents cultural encounters facilitated in immersive role-play scenarios of military and counterinsurgency training, dark tourism, and pedagogy based on history, topography, and the politics of human rights violations. Among the four case studies, two concern training for North American combatants engaged in declared and covert wars in the Middle East; two feature Indigenous cultures claiming control over their narratives, designed to proactively alter a people’s future; and whereas one relies on a built simulation three others utilize the natural landscape to shape encounters. Like studies by Scott Magelssen and Coco Fusco, among others, Natalie Alvarez’s work is invested in formal characteristics of the cases, such as live immersive situations, for paradigm-building. Yet, more importantly, it is cultural ethnography that first destabilizes then reorients the ethnographer’s understanding of kinds of knowledge and leads to sensitization to local cultures and ethical experiences of learning. It matters less whether the cases cohere in terms of formal elements of performance than that, through field work and ethnographic reflection, performance is indispensable in promoting personal encounters imbued with empathy. Over the course of many years, Alvarez’s field work—at CFB Camp Wainwright’s Afghan Village training site, the private company Aeneas Group International’s course on Countering Insurgency in Complex Environments held in the Utah mountains, a nighttime walk led by Indigenous Hñahñu in Hildalgo northeast of Mexico City simulating perils encountered by border-crossing migrants, and a tour of Shoal Lake 40 Reserve conducted by a community leader and settler-ally through this Anishinaabe reserve in southeastern Manitoba—accumulates into a profound meditation on experiences of encounter.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"265 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76775980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The IMPACT Festival is an event dedicated to theatre that centralizes marginalized voices to address social issues, and in the process, works to constitute a vibrant intercultural community. At once a festival, a conference, and an opportunity for artists, scholars, and other cultural commentators—from international to local—to meet and engage with one another, IMPACT has happened biannually in Kitchener, Ontario since 2009. Yet despite its award-winning status among scholars and artists, the IMPACT Festival has struggled to be embraced by either the City of Kitchener or the citizens of the Region of Waterloo. Beginning with interviews with local theatre creators, and drawing on the intercultural analysis of Ric Knowles and Bruno Latour, among others, this article is an attempt to understand why the IMPACT Festival has encountered obstacles to sustainable success in its home town.
{"title":"Majdi Bou-Matar's Impact: An Examination of the IMPACT Festival and its Survival in the Waterloo Region","authors":"A. Houston","doi":"10.3138/tric.40.1_2.102","DOIUrl":"https://doi.org/10.3138/tric.40.1_2.102","url":null,"abstract":"The IMPACT Festival is an event dedicated to theatre that centralizes marginalized voices to address social issues, and in the process, works to constitute a vibrant intercultural community. At once a festival, a conference, and an opportunity for artists, scholars, and other cultural commentators—from international to local—to meet and engage with one another, IMPACT has happened biannually in Kitchener, Ontario since 2009. Yet despite its award-winning status among scholars and artists, the IMPACT Festival has struggled to be embraced by either the City of Kitchener or the citizens of the Region of Waterloo. Beginning with interviews with local theatre creators, and drawing on the intercultural analysis of Ric Knowles and Bruno Latour, among others, this article is an attempt to understand why the IMPACT Festival has encountered obstacles to sustainable success in its home town.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86532486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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