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James Thompson

of their show The Grandchildren of Hiroshima , and the other a drama workshop programme for Year 1 (five-year-old) primary schoolchildren called Speech Bubbles. The third example comes from a performance of Ruff (2013) by Peggy Shaw and directed by Lois Weaver. In my engagement with these examples, I demonstrate how arts practices can produce or strengthen important interdependent social relations between groups and communities. By foregrounding these relationships in performance these projects invite us to recognise the importance of interdependence within

in Performing care
James Thompson

disaggregated from the collective effort. This connects to Richard Sennett’s work on the history and practice of cooperation ( 2012 ). Sennett’s conviction that a practice of working together, and his central example of the Hull House settlement in Chicago, demonstrates that a shared commitment to building caring relations turns ‘people outward in shared, symbolic acts’ and these in turn have a potential place in countering a society that is figured ‘brutally simple: us-against-them coupled with you-are-on-your-own’ ( 2012 : 280). For theatre, this form of cooperation might

in Performing care
Beholding young people’s experiences and expressions of care through oral history performance
Kathleen Gallagher and Rachel Turner-King

Prelude: towards ‘hope’, ‘care’ and ‘civic engagement’ To be ‘care-full’, in these times, is to move against the grain; it is to announce oneself or one’s project as ready and able to put others’ needs in the foreground, to lose time caring. In this chapter, we will argue the obvious, which is also, strangely, the radical: caring will, ultimately, save us. And those of us who have been engulfed in a ‘care-full’ arts ecology know too well that the following is true: our art, our social relations, our intellectual contributions are all served by the fierce

in Performing care
Open Access (free)
Caring performance, performing care
Amanda Stuart Fisher

process through the eyes of the young men, who are not only living it in ‘real life’ but who have become the actors in this play to share their experiences and stories with us. The stories are personal, moving and on occasion shocking as the focus shifts from arrival in the UK to accounts of life in the young men’s home countries, where they were the victim of forced illegal conscription into armies, imprisonment without trial and beatings. There were also moments of humour as we witness the many errors the young men themselves made during the asylum process, such as

in Performing care
An ‘aesthetics of care’ through aural attention
Sylvan Baker and Maggie Inchley

University of London (QMUL). The project started out as a collaboration between the authors of this chapter, Maggie Inchley, a senior lecturer in drama at QMUL, and Sylvan Baker, then an associate director at arts and social justice organisation People’s Palace Projects (PPP) and now a lecturer at the Royal Central School of Speech and Drama. Behind its inception was a desire to find ways of using artistic and pedagogical practice that would shed light on how young people perceived the experience of entering and being in social service-based care in the UK. Our preliminary

in Performing care
Open Access (free)
Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale

of a number which drove the postcard craze in the 1890s and early 1900s.20 Her stage work in her teens gave material presence to her existing celebrity status. After a series of theatre successes, Cooper went into management with Frank Curzon in 1917 and ran the ‘Believe me or not’ ­33 Playhouse Theatre until 1933, when a number of less successful shows left her unable to take any financial risks on future productions. The rest of her career – she carried on performing until her early eighties – was spent between the UK and the US in stage and screen roles

in Stage women, 1900–50
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

the nation, whereas in the UK heritage institutions do not shy away from representations of social inequality and political struggle (Axelsson and Åkerö, 2016). However, a perspective on heritage which glosses over conflicts and political struggle can lead us to believe that our democratic rights can be taken for granted. Instead, these rights are the result of intense political struggle, which is why historical exhibitions should highlight that democratic rights are not won forever, but need to be continuously defended (Eivegård and Furumark, 2017: 13). Therefore

in The power of vulnerability
Open Access (free)
The Republic and Northern Ireland since 1990
Michael Parker

Irish writing in very distinct parts of Europe. As well as from Ireland, contributors have been drawn from the Czech Republic, France, Hungary, Poland, Sweden, the UK and USA, which in itself reflects the strong and sustained international interest in and popularity of Irish literature. The period covered by the book, 1990–2007, has witnessed significant developments within Irish culture and society, which have shaped and transformed the writing and reading of identity, sexuality, history and gender. In order to set this remarkable, transformational time into some

in Irish literature since 1990
Fragility, brokenness and failure
James Paz

175 5 The Dream of the Rood and the Ruthwell monument: Fragility, brokenness and failure In this fifth and final chapter, I want to pay attention to the other side of assemblage –​that is, the way that things break up and break away. The poem (or poems) usually referred to as The Dream of the Rood is a fragile thing that has been, and in a sense asks to be, broken apart and pieced back together time and again. It is not a coherent whole, in any of its forms, but an elusive assortment –​at once breakage and assemblage –​that invites us to participate in its

in Nonhuman voices in Anglo-Saxon literature and material culture
Open Access (free)
Ethnicity and popular music in British cultural studies
Sean Campbell

immigrants was necessarily even-handed. In the preface to The Empire Strikes Back (1982, hereafter Empire), for example, Gilroy acknowledged the relative lack of attention that the authors had paid to the South Asian ethnic group in Britain, explaining: ‘[we] have struck an inadequate balance between the two black communities. Only one of us has roots in the Indian subcontinent whereas four are of Afro-Caribbean origin. This accounts for the unevenness of our text’ (CCCS 1982: 7). Notwithstanding this particular asymmetry, though, the point that I want to make here is that

in Across the margins