-rock and anti-essentialist purpose. The real site of her attack on heteronormativity, however, is her body—as topic of her songs but also as a tool for her performance. 1 In a role-play between naked alien and red-glittery glamour queen, McGowan takes five
The Body Politics of Popfeminist Musical Performances in the Twenty-first Century
Manau's Celtic Rap, Breton Cultural Expression, and Contestatory Performance in Contemporary France
Charles R. Batson
The highly successful 1998 album Panique celtique launched the group of rappers known as Manau and their self-styled "Celtic rap fusion" onto the French musical scene, bringing Breton binious to join the beatboxes on France's hip-hop radio stations and concert stages. As they engage a strikingly heteroclite blending of both rap and Breton musical traditions, Manau's work configures a Celtic Brittany as a rich site of contestation and revalorization. This article traces histories of French-language rap and Breton musical expression and analyzes their politicized uses in their respective historico-cultural contexts. Concluding with an exploration of current questions concerning how the past informs the shape of present performance, especially in light of Breton cultural particularities, the author suggests that Manau's rapped Celtic stylings both occasion an interrogation of cultural identity through music and point to charged social meanings attributed to performed Frenchness and Otherness in early twenty-first-century France.
The Subversive Performances of Tanja Ostojić
The article explores the artwork of Tanja Ostojić, an interdisciplinary artist from Serbia who uses performance art to examine social and political issues. Ostojić in particu- lar expresses the migrant woman’s perspective when facing today’s world of political and economic inequities. With caustic humor, the artist examines who occupies cen- ter positions and who remains in the margins. Ostojić’s subversive performances blur the boundaries between art and life. Her use of her own body, personal history, and identity reflects a feminist perspective. Placing Ostojić’s work in the longer history of performance art, this article analyzes how this provocative artist pushes the boundar- ies of art and culture by denouncing the power dynamics that rule exclusive systems such as the Western-dominated art world and the European Union.
Mobilizing Children’s Voices in UK Flood Risk Management
Alison Lloyd Williams, Amanda Bingley, Marion Walker, Maggie Mort, and Virginia Howells
conducted for Lancaster University and Save the Children’s “Children, Young People and Flooding: Recovery and Resilience” (2014–2016) project, to argue that children can mobilize and become mobilized by mobile and performance-based methods, positioning them
Theorizing Mobility through Modern Subway Dramas
This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences of female passenger's presumed passivity and sexualization in this era. The Subway and plays like it enable scholars of mobility to better understand the ways that theatrical texts intervene in cultural conversations about urban transportation.
A City Connects
museum studies scholar Richard Sandell, who argues that museums are “key sites for the enactment and viewing of performances by visitors; performances which regularly feature negotiations of cultural difference.” 2 The exhibit communicates best when
Helen A. Robbins and Leigh Kuwanwisiwma
visible and identifiable during the ceremonies and rituals conducted on the village plazas and in the kivas, the Hopi belief system incorporates great complexity in form and content. Through dance, ritual, prayers, kiva speech, and public performance
Germany has reduced its emissions of greenhouse gases more than almost any other industrialized democracy and is exceeding its ambitious Kyoto commitment. Hence, it is commonly portrayed as a climate-policy success story, but the situation is actually much more complex. Generalizing Germany's per-capita emissions to all countries or its emissions reductions to all industrialized democracies would still very likely produce more than a two-degree rise in global temperature. Moreover, analyzing the German country-case into eleven subcases shows that it is a mixture of relative successes and failures. This analysis leads to three main conclusions. First, high relative performance and high environmental damage can coexist. Second, we should see national cases in a differentiated way and not only in terms of their aggregate performances. Third, researchers on climate policies should more often begin with outcomes, work backward to policies, and be prepared for some surprises. Ironically, the most effective government interventions may not be explicit climate policies, such as the economic transformation of eastern Germany. Moreover, the lack of policy-making in certain areas may undercut progress made elsewhere, including unregulated increases in car travel, road freight, and electricity consumption. Research on climate and environmental policies should focus on somewhat different areas of government intervention and ask different questions.
This article argues that state visits are highly symbolic political performances by analyzing state visits to Berlin in the 1950s and 1960s. The article concentrates on how state visits blended in the Cold War's culture of suspicion and political avowal. Special emphasis is placed on the role of mass media and on the guests' reactions and behavior. State visits to Berlin illuminate the heavy performative and emotional burden placed on all participants. Being aware of the possibilities for self-presentation offered by state visits, West German officials incorporated state visitors into their symbolic battle for reunification. A visit to Berlin with extensive media coverage was, therefore, of prime importance for the German hosts. Despite their sophisticated visualization strategies, total control of events was impossible. Some visitors did not want to play their allotted role and avoided certain sites in Berlin, refused to be accompanied by journalists or cancelled their trips altogether.
Studying with Barbara Kirshenblatt-Gimblett in the 1990s
In this article, I reflect on the experience of attending Barbara Kirshenblatt-Gimblett’s class Performance Studies Issues and Methods at New York University’s Tisch School of the Arts in the 1990s. Recalling the classes and field trips to events and sites in New York City, and the emphasis that she placed on reading texts and taking field notes, I consider the lessons I learned for performance studies, anthropology, and museums, and also for teaching, research, and scholarship in general. Why did this practice of taking notes from the field, from books in particular, and the note-taking practice in general, play such a central role in Kirshenblatt-Gimblett’s teaching? The steady and consistent focus both on theory and on the observation of social practices was a means of opening up new spaces for theoretical analysis or for a “performed theory,” to use Kirshenblatt-Gimblett’s term.