Performed Imaginaries

In this collection of essays, performance studies scholar and artist Richard Schechner brings his unique perspective to bear upon some of the key themes of society in the 21st century. Schechner connects the avantgarde and terror, the counter-cultural movement of the 1960s/70s and the Occupy movement; self-wounding art, popular culture, and ritual; the Ramlila cycle play of India and the way imagination structures reality; the corporate world and conservative artists. Schechner asks artists to redeploy Nehru's Third World as a movement not of nations but of like-minded culture workers who must propose counter-performances to war, violence, and the globalized corporate empire. With characteristic brio, Schechner urges us to play for keeps. "Playing deeply is a way of finding and embodying new knowledge", he writes. Performed Imaginaries ranges through some of the key moves within Schechner’s oeuvre, and challenges today’s experimental artists, activists, and scholars to generate a new, third world of performance.

"Performing the Ramayana Tradition: Enactments, Interpretations, and Arguments, edited by Ramayana scholar Paula Richman and Rustom Bharucha, scholar of Theater and Performance Studies, examines diverse retellings of the Ramayana narrative as interpreted and embodied through a spectrum of performances. Unlike previous publications, this book is neither a monograph on a single performance tradition nor a general overview of Indian theatre. Instead, it provides context-specific analyses of selected case studies that explore contemporary enactments of performance traditions and the narratives from which they draw: Kutiyattam, Nangyarkuttu and Kathakali from Kerala; Kattaikkuttu and a "mythological" drama from Tamilnadu; Talamaddale from Karnataka; avant-garde performances from Puducherry and New Delhi; a modern dance-drama from West Bengal; the monastic tradition of Sattriya from Assam; anti-caste plays from North India; and the Ramnagar Ramlila. Apart from the editors' two introductions, which orient readers to the history of Ramayana narratives by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as the performance vocabulary of their enactments, the volume includes many voices, including those of directors, performers, scholars, connoisseurs, and the scholar-abbot of a monastery. It also contains two full scripts of plays, photographs of productions, interviews, conversations, and a glossary of Indian terms. Each essay in the volume, written by an expert in the field, is linked to several others, clustered around shared themes: the politics of caste and gender, the representation of the anti-hero, contemporary re-interpretations of traditional narratives, and the presence of Ramayana discourse in everyday life"--

This book explores in theory and practice how artificial intelligence (AI) intersects with and alters the city. Drawing upon a range of urban disciplines and case studies, the chapters reveal the multitude of repercussions that AI is having on urban society, urban infrastructure, urban governance, urban planning and urban sustainability. Contributors also examine how the city, far from being a passive recipient of new technologies, is influencing and reframing AI through subtle processes of co-constitution. The book advances three main contributions and arguments: First, it provides empirical evidence of the emergence of a post-smart trajectory for cities in which new material and decision-making capabilities are being assembled through multiple AIs. Second, it stresses the importance of understanding the mutually constitutive relations between the new experiences enabled by AI technology and the urban context. Third, it engages with the concepts required to clarify the opaque relations that exist between AI and the city, as well as how to make sense of these relations from a theoretical perspective. Artificial Intelligence and the City offers a state-of-the-art analysis and review of AI urbanism, from its roots to its global emergence. It cuts across several disciplines and will be a useful resource for undergraduates and postgraduates in the fields of urban studies, urban planning, geography, architecture, urban design, science and technology studies, sociology and politics.

In the Anthropocene, icy environments have taken on a new centrality and emotional valency. This book examines the diverse ways in which ice and humans have performed with and alongside each other over the last few centuries, so as to better understand our entangled futures. Icescapes – glaciers, bergs, floes, ice shelves – are places of paradox. Solid and weighty, they are nonetheless always on the move, unstable, untrustworthy, liable to collapse, overturn, or melt. Icescapes have featured – indeed, starred – in conventional theatrical performances since at least the eighteenth century. More recently, the performing arts – site-specific or otherwise – have provoked a different set of considerations of human interactions with these non-human objects, particularly as concerns over anthropogenic warming have mounted. The performances analysed in the book range from the theatrical to the everyday, from the historical to the contemporary, from low-latitude events in interior spaces to embodied encounters with the frozen environment.

This book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present. Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art. The book will be of interest to scholars working in art history, performance studies, gender studies, and cultural studies.

A state-of-the-art reference on educational ethnography edited by leading journal editors This book brings an international group of writers together to offer an authoritative state-of-the-art review of, and critical reflection on, educational ethnography as it is being theorized and practiced today—from rural and remote settings to virtual and visual posts. It provides a definitive reference point and academic resource for those wishing to learn more about ethnographic research in education and the ways in which it might inform their research as well as their practice. Engaging in equal measure with the history of ethnography, its current state-of play as well as its prospects, The Wiley Handbook of Ethnography of Education covers a range of traditional and contemporary subjects—foundational aims and principles; what constitutes ‘good’ ethnographic practice; the role of theory; global and multi-sited ethnographic methods in education research; ethnography’s many forms (visual, virtual, auto-, and online); networked ethnography and internet resources; and virtual and place-based ethnographic fieldwork. Makes a return to fundamental principles of ethnographic inquiry, and describes and analyzes the many modalities of ethnography existing today Edited by highly-regarded authorities of the subject with contributions from well-known experts in ethnography Reviews both classic ideas in the ethnography of education, such as “grounded theory”, “triangulation”, and “thick description” along with new developments and challenges An ideal source for scholars in libraries as well as researchers out in the field The Wiley Handbook of Ethnography of Education is a definitive reference that is indispensable for anyone involved in educational ethnography and questions of methodology.

Provides an illuminating look at the diverse world of Black religious life in North America, focusing particularly outside of mainstream Christian churches From the Moorish Science Temple to the Peace Mission Movement of Father Divine to the Commandment Keepers sect of Black Judaism, myriad Black new religious movements developed during the time of the Great Migration. Many of these stood outside of Christianity, but some remained at least partially within the Christian fold. The Black Coptic Church is one of these. Black Coptics combined elements of Black Protestant and Black Hebrew traditions with Ethiopianism as a way of constructing a divine racial identity that embraced the idea of a royal Egyptian heritage for its African American followers, a heroic identity that was in stark contrast to the racial identity imposed on African Americans by the white dominant culture. This embrace of a royal Blackness—what McKinnis calls an act of “fugitive spirituality”—illuminates how the Black Coptic tradition in Chicago and beyond uniquely employs a religio-performative imagination. McKinnis asks, ‘What does it mean to imagine Blackness?’ Drawing on ten years of archival research and interviews with current members of the church, The Black Coptic Church offers a look at a group that insisted on its own understanding of its divine Blackness. In the process, it provides a more complex look at the diverse world of Black religious life in North America, particularly within non-mainstream Christian churches.

In an age when national identities are a subject of popular debate, along with issues of place in relation to immigration, displacement and mobility, it is particularly important that educators are supported in their reflections on how best to respond to such pertinent issues in their daily practice. This book accessibly and sensitively explores the ways in which teachers can work with places and identities in English and related expressive arts to create a rich experience for students in schools and beyond. A team of carefully selected contributors present practical ideas and critically examine diverse contexts and viewpoints. Exploring the significance of identity and place in education, the central notion is that language and arts are vital to enhancing understanding and empathy. The book provides an approach that offers teachers and other professionals ways to engage critically with these themes, as well as practical strategies for opening up debate and creative work in a broad range of curriculum areas. This insightful book will be of interest to teachers, teacher educators, training teachers and researchers in education.