parties. According to the EBS website, 1 “voting is not only useless, it actually undermines genuine democracy by legitimizing an inherently undemocratic process.” The EBS protests were, I advance, performances of citizenship that drew on humor and a
The Edible Ballot Society and the Performance of Citizenship
The Body Politics of Popfeminist Musical Performances in the Twenty-first Century
-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
Performance, Power, Exclusion, and Expansion in Anthropological Accounts of Protests
( Youngs 2017 ), we are offering this topical special section to analyze protests through an ethnographic lens. Concentrating on power and performance, the articles consider the matrix within which the protests emerge—the time and space, the historic and
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.
On the Career of Contemporary Writers in the New Ireland
Drawing on an anthropological study of the social organisation of the world of Irish writers, this article investigates the literary reading as performance which has become central for the career and promotion of contemporary writers. How is the reading - live as well as recorded - constituted, and how is it experienced from the writer's point of view? The data are derived from participant observation and interviews at literary festivals and conferences, writers' retreats, book launches and more informal situations with writers, as well as from fiction and essays by the writers. For this article, I asked some of the writers to write short texts on the reading. It turned out that the frames of the reading as performance reach beyond the reading event, and also that a reading includes elements of risk, such as not attracting a big enough audience or performing badly. Finally, the article considers the changing role of the ethnographer.
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.
Teaching Shakespeare Performance to Israeli Medical Students
native English speakers. I am also accompanied by a member of the medical faculty (Russian, Arab Israeli, Jewish Israeli) who is there to teach alongside me. In this article I explain these medical students’ participation in a Shakespeare performance
Jens Kreinath and Refika Sariönder
in both its constitutive parts and overall design, ranging from the modes of performance and participation to the intended audiences. As a response to different audiences in the environs of cities like Istanbul, there have been some collective
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
Kurdish Activists and Diaspora Politics
will provide a discussion on moral outrage, in which I particularly draw on literature of political rituals and performances. In doing so, I will highlight the importance of performative and expressive contexts in the study of emotions. It is in the