Kind regards,
\nNUTS NZ editors: Jane Marshall and Rand Hazou.<\/p>\n
NUTS People<\/h1>\n
In each edition of NUTS NZ we profile\u00a0an academic and a postgraduate student to show case \u201cour people\u201d and their current research\/interests. In this issue we have Hilary Halba and Kiri Bell from The University of Otago. As always, NUTS NZ asked each of them to answer the following questions:<\/p>\n
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- What is your research about?<\/li>\n
- What theatre\/performances have you seen recently?<\/li>\n
- What have you been reading lately?<\/li>\n<\/ul>\n
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<\/a>Photo credited to Deborah Marshall.<\/p><\/div>\n
Victor Rodger<\/h2>\n
This year my theatre entity, FCC, produced two plays: Puzzy<\/em> by Hawaiian-Filipina writer Kiki – with additional material by myself – and Wild Dogs Under My Skirt<\/em> by my cousin, Tusiata Avia.\u00a0 As this year’s Robert Burns Fellow at the University of Otago, I’ve worked on a few projects: Black Ice<\/em> (a family drama), White Noise<\/em> (an academic comedy), and I also worked on a cabaret called Christ(church) Almighty<\/em> which will – hopefully – get on its feet in Christchurch next year.<\/p>\n
I have recently read Girl on The Train<\/em> and – most recently – Gone Girl. <\/em>This is because\u00a0I’ve been dabbling with the thriller form myself. Currently, I’m reading Eileen<\/em> by Ottessa Moshfegh which was shortlisted for the Booker this year.\u00a0 After that, I’m going to read The Mandibles<\/em> by Lionel Shriver whose controversial speech at the Brisbane Writers Festival certainly made me roll my eyes.<\/p>\n
The most recent performance I saw was a show devised by two NASDA honours students, Asovale Luma and Shea Kouka, in Christchurch called Mai Slam<\/em>.\u00a0 They used six local kids from Aranui and the show was a mixture of spoken word, song and skits.\u00a0 It was a work in progress and was certainly a bit rough around the edges but I came out of that show feeling like I’d had more \u00a0fun watching that than just about anything else I’d seen this year.\u00a0 I also recently caught Not in Our Neighbourhood<\/em> by Jamie McCallister.\u00a0 He’s my pick of the current writers in NZ for his ability to be able to write relevant, hard-hitting drama as well as well-crafted low-brow comedy.<\/p>\n
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<\/a><\/h3>\nStuart Hoar<\/h2>\n
I\u2019m currently rewriting a play about a drone pilot who meets a NZ woman. They have an affair but he neglects to tell her precisely what his job is. This play was written a year or two ago and has had a reading by ATC. \u00a0I\u2019m also trying to finish a novel I\u2019ve been writing for a long time, only a few thousand words to go. \u00a0I\u2019m also researching for a new play I hope to start work on soon; this is a play about Michael Joseph Savage and Ned Kelly.<\/p>\n
Books I have lately read are The Writers\u2019 Festival<\/em> by Stephanie Johnson, The Spy Who Came in from the Cold<\/em> by John Le Carr\u00e9, Attila the Hun<\/em> by John Mann and a new play This I Know to be True<\/em> by Andrew Bovell.<\/p>\n
Plays I\u2019ve been to recently include Billy Elliot<\/em>, Call of the Sparrow<\/em>, Retro Williams<\/em>, The Protest<\/em>, The Pink Hammer<\/em>, Lucrece<\/em>, Zen Dog Sartori<\/em>, Shot Bro<\/em> and A Ghost Tale<\/em>.<\/p>\n
Symposiums<\/h1>\n
Accessible Arts: Practice and Barriers<\/strong><\/h2>\n
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Friday 11th<\/sup> November 2016, 1.30-3.30pm<\/strong><\/p>\n
M2 Drama Studio, Faculty of Education and Social Work, University of Auckland, 74 Epsom Avenue<\/strong><\/p>\n
A half-day symposium for practitioners, researchers, students and disabled people who share an interest in disability arts and accessible arts practices.\u00a0 Presentations and discussions will focus on how participants might better achieve inclusive outcomes in schools, community settings and higher education.<\/p>\n
Discussants:<\/strong><\/p>\n
Emma Bennison (via Skype) \u2013 CEO Arts Access Australia<\/p>\n
Stuart Shepherd \u2013 Curator and Lecturer at Bay of Plenty Polytech, and Tutor at Mapura Studio<\/p>\n
Margaret Feeney \u2013 Studio Coordinator and Arts Tutor, Mapura Arts Studio<\/p>\n
Laura Haughey \u2013 Senior Lecturer in Theatre Studies, University of Waikato<\/p>\n
Sue Cheesman \u2013 Senior Lecturer in Dance Education, University of Waikato, and tutor for Touch Compass<\/p>\n
Chairs: <\/strong><\/p>\n
Rod Wills and Molly Mullen, School of Critical Studies in Education\/Critical Research Unit in Applied Theatre<\/p>\n
This event is free and includes afternoon tea.<\/p>\n
Places are limited so please register via https:\/\/www.eventbrite.com\/e\/accessible-arts-practice-and-barriers-tickets-28926871050<\/a><\/p>\n
For more information contact: m.mullen@auckland.ac.nz<\/a><\/p>\n
Conferences<\/h1>\n
Performing precarity: Refugee representation, determination, and discourses<\/h2>\n
21-23 November 2016<\/strong><\/p>\n
The University of Otago, Dunedin,\u00a0<\/strong><\/p>\n
Keynotes:<\/strong>
\nProfessor Suvendrini Perera (Curtin University, Perth, Australia) & Professor Nikos Papastergiadis (University of Melbourne, Australia)<\/p>\n![\"refugee](\"http:\/\/sites.massey.ac.nz\/wp-content\/uploads\/sites\/22\/2016\/12\/refugee-precarity-300x150.jpg\")
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The current European refugee crisis continues to be a major focus of media attention as well as a point of political, cultural, ethical and social conflict. Images of migrants are constructed, mediated and circulated to create compelling representations of refugee-hood that serve a variety of agendas and conform to specific identities and expectations. They are, in this sense, performances. In addition, refugees in Europe and other regions, including Australasia, are subjected to detention and\/or expected to perform\/conform in certain ways to meet the shifting demands of determination processes and the cultural preferences of different regions. Once released from detention and\/or recognised as refugees, another set of performances ensues \u2013 \u2018welcome\u2019 from the host country and \u2018gratitude\u2019 from the refugee. This interdisciplinary conference aims to draw together scholars from a wide variety of fields to examine the ethics and politics surrounding refugee representation, determination, and discourses.<\/p>\n
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ADSA:\u00a0Performing Belonging in the 21st<\/sup> Century<\/strong><\/h2>\n
\u00a0<\/strong>27 \u2013 30 June 2017<\/strong><\/p>\n
Auckland University of Technology,\u00a0<\/strong>Auckland University,\u00a0<\/strong>Massey University<\/strong><\/p>\n
KEY DATES:\u00a0<\/strong>Monday 20 November 2016 \u2013 Abstracts Due and Monday 11 December 2016 \u2013 Notification of Acceptance<\/p>\n
The M\u0101ori concept of t\u016brangawaewae suggests a place to stand, a homeland, a way of belonging. Belonging, like identity, is a matter of ongoing performance: on stages and in the streets, in community halls, clubs, sporting arenas, churches and parliaments. In \u2018Belonging and the politics of belonging\u2019 (Patterns of Prejudice <\/em>2006), Nira Yuval-Davis observes that \u2018Belonging is about emotional attachment, about feeling \u201cat home\u201d\u2019 (197), and later notes:<\/p>\n
The politics of belonging includes also struggles around the determination of what is involved in belonging, in being a member of a community, and of what roles specific social locations and specific narratives of identity play in this. (205)<\/p>\n
Belonging may be deeply felt, but it is also manifestly constructed and capitalised upon, a matter of collectivity and communality, of inclusion and also of exclusion. We make ourselves into an \u2018us\u2019 by marking others as \u2018them\u2019, say we are of this place and they are not. Belonging is thus also a matter of desire, as much of longing to be as it is of being per se. Echoing Zygmunt Bauman and Leonidas Donskis, who want to \u2018rediscover the sense of belonging as a viable alternative to fragmentation, atomization, and the resulting loss of sensitivity\u2019 (Moral Blindness<\/em> 2013: 12), we invite participants to think out loud about the diverse ways that belonging can be seen to be performed, onstage and off in the 21st<\/sup> century.<\/p>\n
Topics might include:<\/p>\n
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- Ritual, theatrical and everyday performances of belonging<\/li>\n
- Indigenous performances of belonging<\/li>\n
- Pasifika and Oceanic performances of belonging<\/li>\n
- Postcolonial performances of belonging, and of longing to belong<\/li>\n
- The construction and performance of belonging in the context of diaspora<\/li>\n
- The performance of privilege as it sits next to the performance of belonging \u2013 especially in the postcolonial state<\/li>\n
- The many ways belonging and its obverse, otherness, can be performed in relation to communities, to those who align as ethnic, or LGBTI, who are of varied abilities, or who identify as seniors or youth<\/li>\n
- The tension between practitioners who \u2018belong\u2019 \u2013 in particular, Indigenous artists \u2013 and scholars who might not<\/li>\n
- Belonging, place and site-specific performance<\/li>\n
- Intermedial belonging<\/li>\n
- The performance of belonging through social media<\/li>\n
- Protest, performance interventions, and (de)constructions of belonging<\/li>\n
- Performing citizenship, participation and belonging<\/li>\n
- Asylum and refugee theatre, non-citizenship in performance and the staging of dis-placement<\/li>\n
- Pedagogical performances of belonging<\/li>\n
- Actor training, belonging to character and role, and inhabiting the performance space<\/li>\n<\/ul>\n
Maximum 250 words.<\/p>\n
Email abstracts to: belonging@aut.ac.nz<\/a><\/p>\n
Join us on Facebook: https:\/\/www.facebook.com\/search\/top\/?q=performing%20belonging%20adsa%202017<\/a><\/p>\n
CONTACT<\/strong><\/p>\n
Dr Sharon Mazer<\/p>\n
Associate Professor of Theatre & Performance Studies<\/p>\n
Auckland University of Technology<\/p>\n
smazer@aut.ac.nz<\/a><\/p>\n
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CFPs<\/h1>\n
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CALL FOR PAPERS: Social Alternatives:\u00a0Issue on Performance, Community and Intervention<\/strong><\/p>\n
The concept of \u2018intervention\u2019 usually signals the arrival of an outsider or a group of outsiders seeking to enable some kind of change within an individual or a particular community. Alternatively, intervention can be understood as an interruption: an intercession, an attempt to disrupt the status quo and cause change. In theatre and performance for<\/em>, with<\/em>, or by<\/em> communities, intervention can evoke the image of the well-meaning \u2018expert\u2019, someone who applies the processes of drama to help heal fractured communities, give voice to the voiceless, or empower participants to acknowledge their own oppression.\u00a0 While the act of intervention is often accompanied by good intentions, it raises numerous questions on an ethical front, in particular issues of power and the right to speak on someone else\u2019s behalf. How can the concept of intervention in performance be theorised, problematized and alternatively articulated? How does intervention manifest in theatre for, with and by communities? How does an interruption in the status quo of a community impact that community?<\/p>\n
Social Alternatives<\/em> is seeking to extend the discussion on performance and intervention and welcomes a range of submissions exploring this theme. Opportunities to contribute involve: academic articles, short stories, poetry, scripts and commentaries. It is anticipated that responses to this theme will be wide, and may take the following points into consideration:<\/p>\n
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- Re-envisioning intervention as \u2018joyful encounters\u2019<\/li>\n
- Verbatim theatre as intervention<\/li>\n
- Performance and interventions in gender representation<\/li>\n
- Intervening in the public space through performance<\/li>\n
- Theorising strategies and acts of intervention in performance<\/li>\n
- Community theatre intervention<\/li>\n
- Prioritising process or product in performance intervention<\/li>\n
- Theatre, therapy and social conflict<\/li>\n
- Intervention as interruption<\/li>\n
- The impact of intervention in\/through performance<\/li>\n<\/ul>\n
Abstract Due:<\/strong> 1st<\/sup> December 2016. Guidelines for Contributors can be found at:\u00a0\u00a0http:\/\/socialalternatives.com\/contributions<\/a><\/p>\n
Social Alternatives is an independent, quarterly refereed journal. It is committed to the principles of social justice, commenting on important social issues of current concern or public debate. We publish practical and theoretical articles on relevant topics, as well as reviews, short stories, poems, graphics, comment, and critique.<\/p>\n
Direct enquiries and submissions for this issue to the guest editors:<\/p>\n
Dr Natalie Lazaroo, School of Education and Professional Studies, Griffith University natalie.lazaroo@griffithuni.edu.au<\/a><\/p>\n
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