Fluidity and reciprocity in the performance of caring in Fevered Sleep’s Men & Girls Dance
Amanda Stuart Fisher
together’ (Fevered Sleep, 2017 ). While the production certainly celebrates adults and children being and dancing together, Men & Girls Dance arguably achieves much more than this and performs a mode of caring that both challenges and extends our understanding of both our preconceptions of encounters between men and girls and how we think about strength, vulnerability and the power structures of care in performance. Through its improvisational structure and choreography, Men & Girls Dance critiques many of the gender-normative assumptions that often become projected
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.
Most people have some kind of experience of motion sickness from travelling as a child in a stuffy car, staying on a swing or roundabout too long,
being in a boat on a rough sea or on a turbulent flight. It grows as a feeling of nausea, perhaps with a slight headache and clammy skin and leads
to feelings of weakness, drowsiness or apathy. It is perhaps slightly puzzling that people do not usually develop motion sickness from walking or
running. While it has a long history, the possibilities of motion sickness
seem to have proliferated
Discovering quality or performing taste?
A sociology of the amateur
Geneviève Teil and Antoine Hennion
This chapter draws on a study of amateurs’ – music- and food-lovers’ –
practices, to show that taste is an activity and not a passive or determined state.
We use the words ‘amateur’, ‘taste’ and ‘lover’ in their broad senses referring
to any form of love or practice, and not only the restrictive cultured sense of
a connoisseurship centred on a knowledge of the object itself. Amateurism
is contrasted, on the one hand, to the
, sensitivity, trust, ingenuity, and creativity’ will itself promote the beneficial aspects of living in dependent relations with others (Kittay, 2015 : 67). These processes – which the argument here suggests can be found in arts projects with a well-developed aesthetics of care – can maintain and strengthen those mutually supportive human relations and promote the more equitable ‘conditions of our distinct human dignity’ that we all need (Kittay, 2015 : 67).
Judith Butler in her work on a ‘performative theory of assembly’ ( 2015 ) argues similarly for us to take account
Beholding young people’s experiences and expressions of care through oral history performance
Kathleen Gallagher and Rachel Turner-King
to engage him. They were all too aware that his attendance at the weekly sessions was precarious and that they had to earn his trust.
Helen Nicholson suggests that trust, underpinned by an ethic of care, is performed through the outward gestures and ‘particular actions’ of the body, ‘trust is a performative act, which is publicly visible in social action’ ( 2002 : 88). These micro-gestures of care performed by CYT’s leaders modelled a sociality and conviviality that was reflected in the youth group’s behaviour towards each other. Repeatedly, the young people
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus
2 Permeable borders, performative politics and public
Rita: I was just taking the train from Victoria to
Clapham Junction. And Clapham Junction when I get off from the train, I
saw so many UKBA [UK Border Agency] people they were there, I saw them
with large dogs, blocking the entire area. I had a visa and have it now
also. But I got really scared because I could
The Politics of ‘Proximity’ and Performing Humanitarianism in Eastern DRC
One morning in Goma, I attended a meeting of the Cercle de la Sécurité : a group of Congolese humanitarians who work in security management for different international NGOs (non-governmental organisations) in the province. Although they hold a variety of different job titles, the members perform a common function within their respective organisations: they analyse local security conditions by collecting information about protracted violence and acts of criminality. They form and maintain a network among different local authorities and armed
The Khmer Rouge forbade the conduct of any funeral rites at the time of the death of the
estimated two million people who perished during their rule (1975–79). Since then,
however, memorials have been erected and commemorative ceremonies performed, both public
and private, especially at former execution sites, known widely as the killing fields. The
physical remains themselves, as well as images of skulls and the haunting photographs of
prisoners destined for execution, have come to serve as iconic representations of that
tragic period in Cambodian history and have been deployed in contested interpretations of
the regime and its overthrow.
James Baldwin and the Broken Silences of Black Queer
McKinley E Melton
James Baldwin writes within and against the testimonial tradition emerging from the Black
Church, challenging the institution’s refusal to acknowledge the voices and experiences of
black queer men. Baldwin’s autobiographical novel, Go Tell It on the Mountain, creates a
space for Baldwin’s testimony to be expressed, and also lays the foundation for a
tradition of black queer artists to follow. In the contemporary moment, poet Danez Smith
inhabits Baldwin’s legacy, offering continuing critiques of the rigidity of conservative
Christian ideologies, while publishing and performing poetry that gives voice to their own
experiences, and those of the black queer community at large. These testimonies ultimately
function as a means of rhetorical resistance, which not only articulates black queer lives
and identities, but affirms them.