The book advances our understanding of performance as a mode of caring and explores the relationship between socially engaged performance and care. It creates a dialogue between theatre and performance, care ethics and other disciplinary areas such as youth and disability studies, nursing, criminal justice and social care. Challenging existing debates in this area by rethinking the caring encounter as a performed, embodied experience and interrogating the boundaries between care practice and performance, the book engages with a wide range of different care performances drawn from interdisciplinary and international settings. Drawing on interdisciplinary debates, the edited collection examines how the field of performance and the aesthetic and ethico-political structures that determine its relationship with the social might be challenged by an examination of inter-human care. It interrogates how performance might be understood as caring or uncaring, careless or careful, and correlatively how care can be conceptualised as artful, aesthetic, authentic or even ‘fake’ and ‘staged’. Through a focus on care and performance, the contributors in the book consider how performance operates as a mode of caring for others and how dialogical debates between the theory and practice of care and performance making might foster a greater understanding of how the caring encounter is embodied and experienced.
On a most general level, we suggest that caring be viewed as a species activity that includes everything that we do to maintain, continue, and repair our ‘world’ so that we can live in it as well as possible. (Fisher and Tronto, 1990 : 40)
The origins of this chapter can be traced to 1990 and two disparate events: the redefinition of a feminist ethic of care by feminist political scientists Berenice Fisher and Joan Tronto and a woman’s encounter with a roadworks scene. Where Carol Gilligan’s ( 1982 ) ethic of care challenged the universal morality of
Colonial Caring covers over a century of colonial nursing by nurses from a wide range of countries including: Denmark, Britain, USA, Holland and Italy; with the colonised countries including South Africa, Australia, New Zealand, Ethiopia, Nigeria, India, Indonesia (Dutch East Indies) and the Danish West Indies. It presents unique perspectives from which to interrogate colonialism and post-colonialism including aspects of race, cultural difference and implications of warfare and politics upon nursing. Viewing nursing’s development under colonial and post-colonial rule reveals different faces of a profession that superficially may appear to be consistent and coherent, yet in reality is constantly reinventing itself. Considering such areas as transnational relationships, class, gender, race and politics, this book aims to present current work in progress within the field, to better understand the complex entanglements in nursing’s development as it was imagined and practised in local imperial, colonial and post-colonial contexts. Taking a chronologically-based structure, early chapters examine nursing in situations of conflict in the post-Crimean period from the Indian Rebellion to the Anglo-Boer War. Recruitment, professionalisation of nursing and of military nursing in particular, are therefore considered before moving deeper into the twentieth century reflecting upon later periods of colonialism in which religion and humanitarianism become more central. Drawing from a wide range of sources from official documents to diaries, memoirs and oral sources, and using a variety of methodologies including qualitative and quantitative approaches, the book represents ground-breaking work.
Acting is a gateway to living more. (Zamir, 2014 : 17)
The only hope we have of building societies that are peaceful and prosperous for all is to train the members of these societies to respond creatively, rather than fearfully, to the challenge of tradition versus progress, and to see all of the other members of different communities that make up this larger political society as engaged in variations on the same project. (Nicholls, 2012 : 5)
This chapter suggests that reimagining the relationship between caregiver and cared for as one of
An examination of Godder’s socially engaged art and participatory dance for Parkinson’s work
this chapter, which was largely written before Simple Action , I explore the new approach adopted by Godder in 2016 when developing Stabat Mater . Through my reading of this piece, I argue that Godder positions the caring encounters at the heart of the creative process, drawing on the practice of care to redefine dance performance, generating a choreographic practice that is determined by an aesthetics of care. The chapter discusses this idea by exploring a specific symbiotic relationship between a community dance programme – Godder’s dance for Parkinson
Applied drama, ‘sympathetic presence’ and person-centred nursing
Matt Jennings, Pat Deeny and Karl Tizzard-Kleister
relational ethics of care, as described by Virginia Held ( 2006 ), Joan Tronto ( 2013 ) and Nel Noddings ( 2013 ). However, nurses sometimes struggle to maintain these principles in the face of increasingly ‘mechanistic’ paradigms of care (de Zulueta, 2013 : 123), inadequate staffing levels and ever-changing challenges to patient safety (Louch et al ., 2016 ).
Figure 11.1 Person-centred nursing framework
In the wake of critical reports on the UK National Health Service (NHS), there has been increasing concern about the quality of the ‘patient experience’. A
This chapter discusses how artists’ performative engagements with processes of caring for objects can establish new models of relational care with and for older people residing in care homes, especially those living with dementia. The chapter focuses on an art project I created and led in a care home in south London in 2014 as part of my PhD. 1 In my examination of what this project set out to do and what it achieved, I apply Fisher and Tronto’s ( 1990 ) definition of ‘caring about’ and ‘caregiving’ to processes of caring for objects. I consider how
[B]y focusing on care, we focus on the process by which life is sustained; we focus on human actors acting. (Robinson, 1999 : 31)
In 2012, my colleague Antoine Muvunyi, a drama worker from eastern Democratic Republic of the Congo (DRC), lived in Manchester with my family and me for over six months. He survived an incident in which seven of his co-workers and friends had been killed and spent his time in the UK having surgery and physiotherapy on his injured elbow. The chapter that follows, and the orientation it proposes, makes sense only in light of
In this chapter, I develop some of the thinking introduced in an article I wrote in 2015 around what I described as an ‘aesthetic of care’ (see Chapter 2 of this edited collection). To speak of care as a mode of aesthetics is to make two related claims. First, that reciprocal acts of caring, whether formal, informal, interpersonal or collective, have a sensory, crafted quality that could be called an aesthetic. Caring, thus, I suggest, has an artistry and there are inspirational carers who exhibit a virtuosity in the way they care for and with others. As
I’ve literally become a catalogue of statistics, and just irrelevant facts and info. And it’s dehumanising to be honest. If adults don’t really view you as a human then how can you view yourself? … Right now, according to the system, kids have become just another number, another statistic, and it’s not whether a child is being cared for, it’s whether they’re being dealt with. (Leah, fourteen years old, TVF Audio Archive: 2015–18) 1
The Verbatim Formula (TVF) is an ongoing verbatim theatre-based participatory research project founded in 2015 at Queen Mary