“The hunger strike and the fast are reflective experiences, performances of death in which we see ourselves.” ( Grant 2019: 1 ) “We have now learned our power to starve ourselves out of prison, and this power we shall use.” (Christobel
Performances of Death
Hunger Strikes, Discipline, and Democracy
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.
Touring the African Diaspora
This article examines the impact of art, performance, and technology on the global transformation of heritage tourism in recent years. Thanks to a series of case studies focusing on sites of memory deemed important to diasporic Africans, this article shows how art, performance, and technology are central to identity formation through an examination of mnemonic aesthetics and practices. Recent changes in heritage tourism have given rise to the establishment of categories such as “tangible“ and “intangible“ heritage as well as the construction of museums, the implementation of walking tours or the promotion of reenactments and ritual performances alongside environmental, volunteer, and virtual tourism. But how do tourists' interpretations of historic sites of memory change when various economic, political, social, and cultural factors converge globally? People seek experiences and outlets that could enable them to cling to those things that are familiar to them, while enabling them to identify with like communities in the midst of ground-shaking social, technological, economic, and political changes. Heritage tourism is one of those social practices that produces a sense of centeredness through a complex negotiation and presentation of memory, art, and performance.
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.
Envisioning, Evaluating and Co-Enacting Performance in Global Health Interventions
Ethnographic Insights from Senegal
Diane Duclos, Sylvain L. Faye, Tidiane Ndoye, and Loveday Penn-Kekana
act of locating, understood as an approach to capturing epistemologies in the making and to reflecting on the role and responsibilities of anthropology as a community of practice, will be used to understand how ‘performance’ was both studied and co
Staging and Performance in Sidney Lumet's Deathtrap
isolate two expressive devices as especially fertile: figure staging and actors’ performances. In what follows, I seek to disclose the techniques of staging and performance by which Deathtrap generates suspense and surprise; I attempt to lay bare the
Legitimating state violence in the Swedish deportation regime
Lisa Marie Borrelli and Annika Lindberg
through their circulation among different bureaucratic agents and units ( Navaro-Yashin 2007 ; Nugent 2010 ; Trouillot 2001 ), and are eventually acted upon. The production of documentation thus allows for agents of the state to maintain a performance of
Literary Readings as Performance
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 Artist is Absent, or The Birth of Seven Documented Performances by Yan Xing
Meiling Cheng, Andy Campbell, Hendrik Folkerts, Amelia Jones, and Xing Yan
Prelude, played by Meiling Cheng This account about The Birth of Seven Documented Performances— a series of planned live artworks by Yan Xing—features an assemblage of texts by five authors: a curator (Andy Campbell), a critic (Meiling Cheng
Understanding through Performance Black Boston
A City Connects
and participatory museum experiences identified by 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