Transformative Power in Performance

Matatu ◽  
2020 ◽  
Vol 51 (1) ◽  
pp. 79-93
Author(s):  
Yvette Ngum

Abstract Despite the crucial role that performative arts play in enabling progressive transformation, education, healing and psychological protection for abuse on certain female bodies, often the intentions or agenda of such performances habitually outweighs the transformative potentials therein. In the context of this paper, my association with transformation is related to power in a performance that invites participants to reclaim the broken pieces of their lives as a form of agency. Tears in the Mirror, is based on my personal experience narrated in a performance-based project on sexual violence. In my position as the artist directing the play, I took down notes over a period of one-week rehearsal with the actor, representing my experience. The autoethnographic performance method for information sourcing was used with the actor. I used observation and discussion in the process and each stage reflected a continuing process of integrating the ‘doing’ of autoethnography with a critical reflection upon the subject matter. My findings showed that victims of sexual violence are more likely to identify with narratives of other victims during a performance. This is because in viewing the image of the actor on stage one is simultaneously viewing the self in the mirror of the other.

PMLA ◽  
1930 ◽  
Vol 45 (2) ◽  
pp. 516-531
Author(s):  
Joseph E. Gillet

The invasion of Italy by Charles VIII in 1494 became, shortly after, the subject of an égloga by Francisco de Madrid, and the peace of Cambray in 1529, which, it was fondly hoped, would end the Franco-Spanish wars in Italy, was celebrated dramatically by Hernán López de Yanguas. The battle of Pavia (Feb. 24, 1525), falling between these two events and marking the culmination of the struggle, is discussed, from the Spanish point of view, naturally, in the present little play which has not thus far been noticed by the students of early Spanish drama. Like the other two it is a festival-play, combining with a political preoccupation the bucolic tone of the dramatic égloga, a type of which the origin may well be the fifth égloga of Juan del Encina “adonde se introducen cuatro pastores, . . . . y primero Beneito entró en la sala adonde el Duque y Duquesa estaban, y comenzó mucho á dolerse y acuitarse porque se sonaba que el Duque, su señor, se habia de partir á la guerra de Francia; . . . . y despues llamaron á Pedruelo, el cual les dió nuevas de paz. . . . .” The play is short, however, and although possibly intended for a performance or actually performed, it is close, both in subject-matter and external appearance, to the news-sheets in ballad-form which were fairly common at the time. The print which is here reproduced formerly belonged to D. Pascual de Gayangos, and is now in the Biblioteca Nacional, in Madrid. It seems to have been mentioned only by Gallardo. On its title-page a vignette represents a battle fought under massive city- or castle-walls by knights in full armour, on foot, some wielding swords, some daggers, several carrying shields, one of which, on the right, is painted with a large human countenance. In the left group of four warriors one has already fallen, pierced by a sword. Behind the right group of three may be distinguished a throng of helmeted figures in a thicket of tall lances.


2019 ◽  
Vol 68 (2) ◽  
pp. 204-220
Author(s):  
Ilito H. Achumi

The article is premised upon the production and reproduction of the idea of the ‘illegality’ on the subject matter of migration in Nagaland, India. Lynching of Syed Sarif Khan at Dimapur on 5 March 2015 encounters multiple narratives relevant to the current issue of sexual violence against women, migration, security and identity politics. Northeast as a sociopolitical site has produced extensive works on how Northeast India has been marginalised historically. On the contrary, the article looks inside rather than outward to see how we also marginalise the ‘other’. Reclaiming the space, cleansing the subject of the illegal, conducting flush-out operations and creating the illegal child of the state called ‘sumiyas’ are some of the key discussions on the constructs of who are included and who are excluded in the ‘imagined’ and ‘real’ community of the Nagas.


Author(s):  
Ilana Feldman

In her essay Ilana Feldman investigates the relations between the private and the political in the autobiographical work of Israeli-born Brazilian filmmaker David Perlov (1930–2003). Problematizing her position as researcher, she points out that she was also affectively and intellectually deeply implicated in this research. In questioning self-reflexively her supposed neutrality as researcher, she is following, among others, Georges Devereux in De l’angoisse à la méthode (2012) where he argues for a dialectics between the subject and the object of the investigation in a prolonged process ‘of becoming aware’. Applying Marcio Seligmann-Silva’s notion of the ‘testimonial content of culture’ (2003) to her research methodology, Feldman writes that there is no knowledge of the ‘other’ without recognition of the ‘self’. She argues for the significance of her own personal archives and the transformative power they had in the construction of this research.


2020 ◽  
Vol 29 ◽  
pp. 11-33
Author(s):  
Janusz Mariański

In this article, the issue of structural individualisation, which is one of the results of social modernisation, is adopted as the subject-matter. In the processes of individualisation, it is, first and foremost, the importance of an individual human being and matters relevant to their life, including the obligation to make constant choices in all the aspects of life, that is placed emphasis upon. In the aspect of values, the process of individualisation means transfer from values seen as responsibilities (related to duties) to values connected with self-fulfilment (self-development). The consequence of individualisation is the significant changes in the realm of morality: departing from traditional moral values and standards, permissivism and moral relativism, the destruction of normativity, and the secularisation of morality. On the other hand, it creates the opportunity to determine one's own moral choices and shapean autonomous moral personality.


1908 ◽  
Vol 54 (227) ◽  
pp. 704-718
Author(s):  
Lady Henry Somerset

I fully appreciate the very great honour which has been done to me this afternoon in asking me to speak of the experience which I have had in nearly twenty years of work amongst those who are suffering from alcoholism. Of courseyou will forgive me if I speak in an altogether unscientific way. I can only say exactly the experiences I have met with, and as I now live, summer and winter, in their midst, I can give you at any rate the result of my personal experience among such people. Thirteen years ago, when we first started the colony which we have for inebriate women at Duxhurst, the Amendment to the present Inebriate Act was not in existence, that is to say, there was no means of dealing with such people other than by sending them to prison. The physical side of drunkenness was then almost entirely overlooked, and the whole question was dealt with more or less as a moral evil. When the Amendment to the Act was passed it was recognised, at any rate, that prison had proved to be a failure for these cases, and this was quite obvious, because such women were consigned for short sentences to prison, and then turnedback on the world, at the end of six weeks or a month, as the case might be, probably at the time when the craving for drink was at its height, and therefore when they had every opportunity for satisfying it outside the prison gate they did so at once. It is nowonder therefore that women were committed again and again, even to hundreds of times. When I first realised this two cases came distinctly and prominently under my notice. One was that of a woman whose name has become almost notorious in England, Miss Jane Cakebread. She had been committed to prison over 300 times. I felt certain when I first saw her in gaol that she was not in the ordinary sense an inebriate; she was an insane woman who became violent after she had given way to inebriety. She spent three months with us, and I do not think that I ever passed a more unpleasant three months in my life, because when she was sober she was as difficult to deal with-although not so violent-aswhen she was drunk. I tried to represent this to the authorities at the time, but I wassupposed to know very little on the subject, and was told that I was very certainly mistaken. I let her go for the reasons, firstly that we could not benefit her, and secondly that I wanted to prove my point. At the end of two days she was again committed to prison, and after being in prison with abstention from alcohol, which had rendered her more dangerous (hear, hear), she kicked one of the officials, and was accordingly committed to a lunatic asylum. Thus the point had been proved that a woman had been kept in prison over 300 times at the public expense during the last twenty years before being committed to a lunatic asylum. The other case, which proved to me the variations there arein the classifications of those who are dubbed “inebriates,” was a woman named Annie Adams, who was sent to me by the authorities at Holloway, and I was told she enjoyed thename of “The Terror of Holloway.” She had been over 200 times in prison, but directly she was sober a more tractable person could not be imagined. She was quite sane, but she was a true inebriate. She had spent her life in drifting in and out of prison, from prison to the street, and from the street to the prison, but when she was under the bestconditions I do not think I ever came across a more amiable woman. About that time the Amendment to the Inebriates Act was passed, and there were provisions made by which such women could be consigned to homes instead of being sent to prison. The London County Council had not then opened homes, and they asked us to take charge of their first cases. They were sent to us haphazard, without classification. There were women who were habitual inebriates, there were those who were imbecile or insane; every conceivable woman was regarded as suitable, and all were sent together. At that time I saw clearly that there would be a great failure (as was afterwards proved) in the reformatory system in this country unless there were means of separating the women who came from the same localities. That point I would like to emphasise to-day. We hear a great deal nowadays about the failure of reformatories, but unless you classify this will continue to be so.


1999 ◽  
Vol 17 (1) ◽  
pp. 87-98
Author(s):  
René Gothóni

Religion should no longer only be equated with a doctrine or philosophy which, although important, is but one aspect or dimension of the phenomenon religion. Apart from presenting the intellectual or rational aspects of Buddhism, we should aim at a balanced view by also focusing on the mythical or narrative axioms of the Buddhist doctrines, as well as on the practical and ritual, the experiential and emotional, the ethical and legal, the social and institutional, and the material and artistic dimensions of the religious phenomenon known as Buddhism. This will help us to arrive at a balanced, unbiased and holistic conception of the subject matter. We must be careful not to impose the ethnocentric conceptions of our time, or to fall into the trap of reductionism, or to project our own idiosyncratic or personal beliefs onto the subject of our research. For example, according to Marco Polo, the Sinhalese Buddhists were 'idolaters', in other words worshippers of idols. This interpretation of the Sinhalese custom of placing offerings such as flowers, incense and lights before the Buddha image is quite understandable, because it is one of the most conspicuous feature of Sinhalese Buddhism even today. However, in conceiving of Buddhists as 'idolaters', Polo was uncritically using the concept of the then prevailing ethnocentric Christian discourse, by which the worshippers of other religions used idols, images or representations of God or the divine as objects of worship, a false God, as it were. Christians, on the other hand, worshipped the only true God.


1942 ◽  
Vol 36 (4) ◽  
pp. 614-620
Author(s):  
William Marion Gibson

In explaining the nature of international law, each of the two major schools of thought draws upon legal philosophy and practice for evidence in support of its interpretation. It is not the purpose of this note to offer any conclusions or proofs as to the validity of the reasoning of one or the other of the two schools. It would require more than the subject-matter here considered to prove the “Monist” position, or to detract from that of the “Dualist.” However, inasmuch as state practice is one of the guides to the resolution of the debate on the nature of international law, it is hoped that an explanation of the attitude of the Colombian Supreme Court concerning the relationship of pacta to the national constitution and legislation of that state may merit mention.


Author(s):  
Kelvin Chuah

Cheong Soo Pieng was a Chinese-born artist who became well known for his contributions to Singapore’s modern art. In Nanyang, Cheong’s Chinese art training was integrated with the lush tropical landscape and the arresting allure of local communal practices. Cheong was part of a group of artists who visited Bali, Indonesia, in 1952 in search of the Nanyang Style, which involved Southeast Asian themes visualized with Western art techniques. The resulting imagery in the works created by the artists was exhibited back in Singapore the following year in the hugely lauded exhibition Four Artists to Bali. This provided the stimulus for these artists to develop further this particular genre of art. For Cheong, his artistic excursions were not confined to Singapore. He also traveled to Sarawak, Borneo, in 1959 and resided in Europe from 1961 to 1963, where he held solo and group shows, and where he also dabbled with abstraction in his works. Cheong is recognized for his development of distinctive figural types known as "elongated figures": female bodies with elongated limbs. The figural types he developed in the 1950s were reassessed and reworked in the 1970s. These later works reflect a matured handling and refinement, reinforcing his personal stylization of the subject matter.


2020 ◽  
Vol 51 ◽  
pp. 243-268
Author(s):  
Julie M. Johnson

AbstractThis article positions multidisciplinary artist Friedl Dicker-Brandeis at the center of a web that spans Vienna 1900, the Weimar Bauhaus, and interwar Vienna. Using a network metaphor to read her work, she is understood here as specialist of the ars combinatoria, in which she recombines genre and media in unexpected ways. She translates the language of photograms into painting, ecclesiastical subject matter into a machine aesthetic, adds found objects to abstract paintings, and paints allegories and scenes of distortion in the idiom of New Objectivity, all the while designing stage sets, costumes, modular furniture, toys, and interiors. While she has been the subject of renewed attention, particularly in the design world, much of her fine art has yet to be assessed. She used the idioms of twentieth-century art movements in unusual contexts, some of these very brave: in interwar Vienna, where she created Dadaistic posters to warn of fascism, she was imprisoned and interrogated. Always politically engaged, her interdisciplinary and multimedia approach to art bridged the conceptual divide between the utopian and critical responses to war during the interwar years. Such engagement with both political strains of twentieth-century modernism is rare. After integrating the interdisciplinary lessons of Vienna and the Weimar Bauhaus into her life's work, she shared these lessons with children at Terezín.


Paragraph ◽  
2013 ◽  
Vol 36 (3) ◽  
pp. 376-391
Author(s):  
Amy Sherlock

This article considers the photographs of Francesca Woodman in terms of the complex and ambivalent set of relations they configure between photographer, photographed subject and viewer. Usually described as ‘self-portraits’, the subject of these fleeting, fractured images simultaneously presents itself whilst seeming to withdraw from them. The self, there where it most openly declares itself, disappears. Drawing on Jean-Luc Nancy's concept of exposition, or exposure, which posits the self as being in-exteriority, thinking the intimacy of subjectivity in terms of an originary relation to the outside or the other, I seek to problematize the possibility both of the portrait and the self that is its subject.


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