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Performing the Hyphen

Engaging German-Jewishness at the Jewish Museum Berlin

Jackie Feldman and Anja Peleikis

The Jewish Museum Berlin (JMB) is a dynamic, performative space that negotiates between representing the Jew as an integral part of German history and as ultimate Other. While this tension has been documented through the political history of the museum (Lackmann 2000; Pieper 2006; Young 2000), we focus on the dynamics of guided tours and special events. We claim that guiding and festival events at JMB marginalise Holocaust memory and present an image of Jews of the past that promotes a multicultural vision of present-day Germany. In guiding performances, the identity of the guide as German/Jewish/Muslim is part of the guiding performance, even when not made explicit. By comparing tour performances for various publics, and the 'storytelling rights' granted by the group, we witness how visitors' scripts and expectations interact with the museum's mission that it serve as a place of encounter (Ort der Begegnung). As German-Jewish history at JMB serves primarily as a cosmopolitan template for intercultural relations, strongly affiliated local Jews may not feel a need for the museum. Organised groups of Jews from abroad, however, visit it as part of the Holocaust memorial landscape of Berlin, while many local Jews with weaker affiliations to the Jewish community may find it an attractive venue for performing their more fluid Jewish identities – for themselves and for others.

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David Graeber

Terms such as 'fate' and 'luck' are ways of talking about the ambiguities and antinomies of temporal existence that all humans, even social theorists, have to confront in one form or another. Concepts that include mana, śakti, baraka, and orenda might best be considered as grappling with the exact same paradoxes. Nor should we assume that social scientific approaches are necessarily more sophisticated. Current discourse on 'performativity', for instance, seems in certain ways rather crude when compared to the Malagasy concept of hasina (usually translated as 'sacred power'), which takes on the same dilemma—what I call the 'paradox of performativity'—in a far more nuanced way.

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Afterword

Dangerous Mobilities

Mimi Sheller

shamanistic traveler. This brings us, fourth, to the question of performance and performativity. Dangerous mobilities entail various kinds of skilled performances, such as Holly Th orpe’s study of skateboarding in Afghanistan or parkour in Gaza or Maria

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Kathleen Lennon

provides an account from the point of view of the audience, a parallel account could be offered from the point of view of the performer, who – despite her curves – performatively enacts Chevalier through the medium of her body. 4 In his later biographical

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Solveig Roth and Dagny Stuedahl

identities ( Holland et al. 1998 ) to understand young girls’ engagement in learning and their transformations and personal development. Using this concept alongside Judith Butler's (1988) perspectives on performativity, we focus on how girls change

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Alena Minchenia

communities to achieve social and political changes. Performativity and the Grand Narrative of Resistance In her book Notes toward a Performative Theory of Assembly , Judith Butler defines protests as materialization of “the people.” In protests, “the

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Performing Identity

Early Seventeenth-Century Travelers to the Ruins of Troy

Vassiliki Markidou

The article focuses on three early-seventeenth-century (English and Scottish) leisure travelers’ accounts of the (alleged) ruins of Homeric Troy, namely those penned by Thomas Coryat, William Lithgow, and George Sandys. It argues that their rumination on the specific remains both shaped and reflected their manifold, fractured, and precarious identities while it also highlighted the complex dialogue taking place in these texts between a ruinous past and a fragmented and malleable present. The essay also examines the three travelers’ broken poetics, interspersed in the aforementioned accounts, and shows that they constitute highly self-aggrandizing narratives through which their authors perform their fragile identities.

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“I Am Trying” to Perform Like an Ideal Boy

The Construction of Boyhood through Corporal Punishment and Educational Discipline in Taare Zameen Par

Natasha Anand

simultaneously on two temporal planes—he is both passive and active, dependent and independent, scapegoat and transgressor. Even though Ishaan must perform 2 painfully according to the cultural directives laid down by ruthless institutional regimes for accession

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Performing the Border

Cartographic Enactments of the German-Polish Border among German and Polish High-school Pupils

Marie Sandberg

On the basis of fieldwork conducted in the two towns Görlitz and Zgorzelec, situated directly on the German-Polish border, this article explores how different versions of the border are enacted among Polish and German high-school pupils. As is usually the case with borders, the German-Polish border has a multiple, even ambivalent character. Inspired by the performative approach within actor-network theory, this article aims to qualify the concept of the multiple border, where multiplicity is understood as heterogeneous practices and patterns of absences and presences that constitute the border. The data, based on ethnographic fieldwork, consist of 'cartographies', maps made by the pupils, followed up by 'walking conversations' in the two towns on the border. The analysis shows that the border is not only enacted differently; also it is suggested that the performances all deal with and constitute an ambivalent border.

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Living History, Performing Coloniality

Towards a Postcolonial Ethnography

Sitara Thobani

The self-reflexivity of anthropologists entails engaging with the forceful critiques emanating from within the discipline with regard to its relationship to the colonial project. However, the question remains as to what a postcolonial ethnographic project might look like. That is, while anthropologists engage with critiques from postcolonial studies in theory, how might they do so in practice? I address this question in my article by examining contemporary performances of Indian classical and Contemporary South Asian dance in Britain. An historical analysis of the trajectory of Indian classical dance reveals an intimate relationship between colonial, Orientalist and Indian nationalist discourses. Investigating contemporary performances in the U.K. can thus provide a fascinating glimpse into how discourses of coloniality are reiterated in the present. Focusing on performative narrativisations of the dance's history and its constructions of an idealised femininity, I show how ethnographic research can usefully excavate contemporary practices to better understand the capacity of coloniality both to endure and transform in its contemporary articulations.