Transcultural. Transnational. Transformation. seeing, writing and reading performance across cultures 2011

Australasian Association for Theatre, Drama and Performance Studies Conference

28 June – 1 July 2011, Monash University, Clayton Campus

The 2011 Australasian Association for Theatre, Drama and Performance Studies (ADSA) conference seeks to act as a forum to explore, bring together and/or set in opposition inter-, intra- and cross-cultural performances, performativities, receptions of performance, visions, borrowings, understandings, practices, theories and ethical ponderings about performance.

ADSA is the peak academic association promsoting the study of drama in any performing medium throughout the region. ADSA represents members of staff and postgraduate students of Australasian institutions of tertiary education who are engaged in teaching, research and practice in theatre, drama and performance studies. Directors of associated theatres and members of the theatrical profession are also active members.

Keynote Speakers

‘Let the Games Begin’: Pageants, Protests, lndigeneity

 
Helen Gilbert
Helen Gilbert

Professor Helen Gilbert

What are the chief pleasures and tensions embedded in the circulation of indigenous performances as global commodities made available for ‘reading across cultures?’ To probe this question, my paper focuses on the Olympic Games as a potent, if highly controversial, stimulus for the expression — and consumption — of indigenity in the neo-liberal marketplace. While the signal events for my analysis are the Sydney, Salt Lake City and Vancouver Olympics, all in the first decade of the twenty-first century, a longer historical view will help to weigh the exoticising effects of spectacle against the argued benefits of national and global visibility. Specific pageants and protests are discussed as constituent parts of performance clusters intricately connected to each other by the spatial, economic and conceptual structures of individual host cities. Conceptually, the argument draws from recent work in cultural geography and urban studies as well as in performance theory. The overall aim is to begin a comparative materialist analysis of pro- and anti-Games performances of indigeneity while offering some grounded theoretical insights into the ways in which such ‘inhabitations’ map into local and translocal commodity cultures.

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‘That primitive box space’ – transculturalism and black modern dance

Rachel Fensham
Rachel Fensham

Professor Rachel Fensham

This paper considers the choreography and work of New York ‘black dance’ artist Eleo Pomare in the Netherlands and Australia during the 1960s and 1970s. With the ‘double consciousness’ of black subjects from the transatlantic (Gilroy), Pomare helped to create a radical dance aesthetics based on observation of everyday life, poetic expression, and social commentary. However, this ‘angry dancer’ adopted a position outside cultural hierarchies, by leading an integrated dance company and challenging black and white stereotypes. In discussing Pomare’s history, I will consider his role in challenging racial segregation in the Australian cultural establishment through the discourses of black power and modern dance embodiment;; strategies which have been adopted subsequently by indigenous dance practices.

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Mondialisation or World Forming in The Flying Circus Project

 

Ong Keng Sen

In The Creation Of The World, Jean Luc Nancy introduces the termmondialization or world forming, the making of a world. He prefers this to the term globalization for a variety of reasons. Mondialization evokes, for him, an expanding process throughout the expanse of human beings, cultures and nations. This is unlike globalization that seems to him to be the undifferentiated sphere of a unitotality. Nancy discusses globalization as “the suppression of all world-forming of the world”, as “an unprecedented geopolitical, economic, and ecological castastrophe”. Globalization leads to the opposite of an inhabitable world, to the un-world [immonde]. His primary concern is to create a world that is “the contrary of a global injustice against the backdrop of general equivalence”.

I would like to discuss The Flying Circus (FCP), an artist laboratory that takes place in different sites in Asia, as an instance of intercultural performance, through a close reading of Nancy. The FOP can be said to have occurred due to the increased mobility in a globalized world. It was initiated in 1996 when the art world exploded with cultural and artistic exchanges, its artists were both self-confident and hungry to experience the world. Since 2004, most of these artists come from city centers or art metropolises; they are often trained in universities in Europe or the US; they are acutely aware of the speed of world economy and the power of information revolution in its electronic forms; they participate with savvy in the contemporary art market; they embrace hybrid identities, multiplicities as often they come from diasporic backgrounds; they are actively engaged in creation, expression and art in their communities of choice. Despite all this, I would like to argue that the FOP is a study of world forming, closer to mondialization rather than globalization.

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Ong Keng Sen
Ong Keng Sen

Biographies for keynote speakers.

Schedule

The Conference is spread over four days. This year the main conference will be preceded by a special event specifically designed to cater for Early Career Researchers and Postgraduate students.

Special Event
Tuesday 28 June
  1. Special Early Career Researcher (ECR) and Postgraduate Workshop.
    Following the success of the inaugural ECR/Postgraduate session at the ADSA Canberra Conference 2010, organisers are once again offering a special event for postgraduate students and researchers.
    Morning & afternoon tea and lunch will be provided.
  2. Opening Night.
    Welcome to Country and Official Opening of the Conference.
    Drinks and Light Refreshments will be provided.
Day One
Wednesday 29 June
  1. First Keynote Address
  2. Papers from attending delegates.
  3. Workshops
    Morning & afternoon tea and lunch will be provided.
Day Two
Thursday 30 June
  1. Second Keynote Address
  2. Papers from attending delegates.
  3. Workshops
    Morning & afternoon tea and lunch will be provided.
Day Three
Friday 1 July
  1. Third Keynote Address
  2. Papers from attending delegates.
  3. Workshops
    Morning & afternoon tea and lunch will be provided.
  4. Conference Dinner

Delegates will need to book for the Conference Dinner. The Conference Dinner is not included as part of the registration cost.

Day Four
Saturday 2 July
  1. Performance as Research Colloquium
    Light Lunch and tea and coffee will be provided.

While the lunch and attendance at the seminar is free, we ask that you register your intention to attend via the conference website.

*Delegates: If you have any amendments to the schedule you wish to be made, please contact Cheyney Caddy.

Program and Abstracts

Conference program (PDF)

Conference abstracts (PDF)

Convenors

Dr. Maryrose Casey
Director Performance Research Unit
Centre for Theatre and Performance Studies
Building 68, Monash University, Clayton Campus VIC 3800.
Phone: (+61 3) 9905 2970
Email: Maryrose.Casey@monash.edu

Dr. William Peterson
Senior Lecturer and Director
Centre for Theatre and Performance Studies
Building 68, Monash University, Clayton Campus VIC 3800.
Phone: (+61 3) 9905 9351
Email: Will.Peterson@monash.edu

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