The Politics of Performance: From Negotiation to Display

Overview

This module brings together the ecological, sensorial and political relations of performance in comparative analyses of intercultural practices from around the globe. We will explore how human and other-than-human aspects of sound, image and movement generate various modalities of ‘attunement’ between oneself and one’s environment to inform a politics of performance. By attending to the particularities of sound, voice, affect, reaction and resonance, we will analyse differentiated ‘atmospherics’ (Eisenlohr 2011) of negotiation, display and contestation. We will then examine how the politics of sound, image and movement give rise to expressions of resistance, resilience and reconciliation. Central to critically engaged performativity is a diversity of environments, environmental change and the ecological relations that they entail. Taking space, place and the effects of climate change seriously, we will further examine how the politics of being and belonging stem from different ways of knowing, sensing and performing self, other and the ‘other-than-human’ in these environments. Using a series of key settings, the module will reveal the political effects of sound, language, voice, positionality and performativity.

Some case studies that will exemplify this environmental and performative politics include i). an analysis of indigenous protest and resistance in song, theatre and public display, focusing on processes of fragmentation, recombination and reclamation; ii). art as a process of reconciliation, negotiation and spectacle, foregrounding identities, rights and policy agendas; iii). political imagery e.g. street art and graffiti; and iv). improvisatory music-making in refugee camps and conflict zones, addressing tension, liminality and resilience. Finally, the module will take into account the ongoing effects of Covid19 as artists and performers reposition their voices in a digitally interconnected world. We will examine how expanding technologies are transforming the power of performance and reshaping how processes of creativity are politically motivated and communicated.

Learning Objectives

We will be using informal self and group assessment methods during the module to monitor learning outcomes and to reflect on the development of conceptual skills of the following:

• Knowledge of key approaches to the anthropology of the senses, the anthropology of music, arts and performance and music in peacebuilding.
• Ability to discuss critically the importance of multi-sensoriality and performativity in case studies from different cultural contexts.
• Knowledge of the role of performance, poetics in protest, politics, nationalism and expressions of Indigenous rights.
• Ability to work critically with central concepts in the politics of performance.
• Ability to analyse the relationship between different arts/performance genres across distinct performative arenas, e.g. parliamentary, theatrical, ritual and staged events.
• Competence in dealing with issues of cultural diversity in academia.

Skills

• Ability to analyse performative issues and their political implications through relevant anthropological and ethnomusicological frameworks.
• Ability to research and critically analyse a range of information sources effectively.
• Demonstrate skills development in conducting music and arts research online.
• Ability to express anthropological ideas clearly and logically.
• Ability to debate and defend arguments.
• Ability to work with other students in groups.
• Experience in musical participation and reflection.

Assessment

None