Sustainable Tools For Precarious Times

This collection promises to be a cornerstone in the field of performance studies and human rights activism. By mixing scholarly chapters with artists’ manifestos or “interruptions” it promotes the idea of the collective work between academia and social movements. Not only is it very timely, theoretically savvy, and well written, it also brings together scholars, activists, artists, and artivists in a very fluid, collective approach, something many of us strive to do.” — Paola S. Hernández, University of Wisconsin, USA This book charts the changing frontiers of activism in the Americas. Travelling Canada, the US, the US-Mexico border, Chile, Argentina, Brazil, Cuba, Colombia, and Indigenous territories on Turtle Island, it invites readers to identify networks, clusters, and continuities of art-activist tactics designed to exceed the event horizon of the performance protest. Essays feature Indigenous artists engaging in land-based activism and decolonial cyberactivism, grass-roots movements imagining possible futures through cross-sector alliance building, art-activists forwarding tactics of reinvention, and student groups in the throes of theatrical assembly. Artist pages, interspersed throughout the collection, serve as animated, first-person perspectives of those working on the front lines of interventionist art. Taken together, the contributions offer a vibrant picture of emergent tactics and strategies over the past decade that allow art-activists to sustain the energy and press of political resistance in the face of a whole host of rights emergencies across the Americas. Winner of the Excellence in Editing Award from the Association for Theatre in Higher Education and recipient of an Honourable Mention for the Patrick O'Neill Prize administered by the Canadian Association for Theatre Research. Project Artists: - The Great Collective Cough-In – L.M. Bogad - Le Temps d’une Soupe – ATSA - For Freedoms – Hank Willis Thomas and Eric Gottesman - Down with Self-Management! Re-Booting Ourselves as Feminist Servers – subRosa - Journey for Activism and Sustainability Escola de Ativismo - Unstoppable – micha cárdenas, Patrisse Cullors, Chris Head and Edxie Betts - Listen to Black Women – Syrus Marcus Ware - Notes on Sustainable Tools – Fred Moten and Stefano Harney, with Suné Woods - The Mirror Shield Project – Cannupa Hanska Luger - The Human Billboard Project – Leah Decter, with Stop Violence Against Aboriginal Women Action Group

This book reflects the considerable appeal of the Anthropocene and the way it stimulates new discussions and ideas for reimagining sustainability and its place in education in these precarious times. The authors explore these new imaginings for sustainability using varying theoretical perspectives in order to consider innovative ways of engaging with concepts that are now influencing the field of sustainability and education. Through their theoretical analysis, research and field work, the authors explore novel approaches to designing sustainability and sustainability education. These approaches, although diverse in focus, all highlight the complex interdependencies of the human and more-than-human world, and by unpacking binaries such as human/nature, nature/culture, subject/object and de-centring the human expose the complexities of an entangled human-nature relation that are shaping our understanding of sustainability. These messy relations challenge the well-versed mantras of anthropocentric exceptionalism in sustainability and sustainability education and offer new questions rather than answers for researchers, educators, and practitioners to explore. As working with new theoretical lenses is not always easy, this book also highlights the authors’ methods for approaching these ideas and imaginings.

The Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration.

In this significantly revised second edition of Bronwyn Hayward’s acclaimed book Children Citizenship and Environment, she examines how students, with teachers, parents, and other activists, can learn to take effective action to confront the complex drivers of the current climate crisis including: economic and social injustice, colonialism and racism. The global school strikes demand adults, governments, and businesses take far-reaching action in response to our climate crisis. The school strikes also remind us why this important youthful activism urgently needs the support of all generations. The #SchoolStrike edition of Children Citizenship and Environment includes all new contributions by youth, indigenous and disability activists, researchers and educators: Raven Cretney, Mehedi Hasan, Sylvia Nissen, Jocelyn Papprill, Kate Prendergast, Kera Sherwood O’ Regan, Mia Sutherland, Amanda Thomas, Sara Tolbert, Sarah Thomson, Josiah Tualamali'i, and Amelia Woods. As controversial, yet ultimately hopeful, as it was when first published, Bronwyn Hayward develops her ‘SEEDS’ model of ‘strong ecological citizenship’ for a school strike generation. The SEEDS of citizenship education encourage students to develop skills for; Social agency, Environmental education, Embedded justice, Decentred deliberation and Self-transcendence. This approach to citizenship supports young citizens’ democratic imagination and develops their ‘handprint’ for social justice. This ground-breaking book will be of interest to a wide audience, in particular teachers and professionals who work in Environmental Citizenship Education, as well as students and community activists with an interest in environmental change, democracy and intergenerational justice.

An up-to-date, contextualized assessment of the impact of the 'festivalization' of culture around the world.

An ethnographic and community-engaged study of the class, caste, and gender politics of environmental mobilizations around Bengaluru, India’s discards. In Recycling Class, Manisha Anantharaman examines the ideas, flows, and relationships around unmanaged discards in Bengaluru, India, itself a massive environmental problem of planetary proportions, to help us understand what types of coalitions deliver social justice within sustainability initiatives. Recycling Class links middle-class, sustainable consumption with the environmental labor of the working poor to offer a relational analysis of urban sustainability politics and practice. Through ethnographic, community-based research, Anantharaman shows how diverse social groups adopt, contest, and modify neoliberal sustainability’s emphasis on market-based solutions, behavior change, and the aesthetic conflation of “clean” with “green.” Tracing garbage politics in Bengaluru for over a decade, Anantharaman argues that middle class “communal sustainability” efforts create new avenues for waste picker organizations to make claims for infrastructural inclusion. Coproduced “DIY infrastructures” serve as sites of citizenship and political negotiation, challenging the technocratic and growth-based logics of dominant sustainability policies. Yet, these configurations reproduce class, caste, and gender-based divisions of labor, demonstrating that inclusion without social reform can reproduce unjust distributions of risk and responsibility. Revealing the “win-win” fallacy of sustainability and foregrounding the agency of communities excluded from environmental policy, Recycling Class will appeal to scholars and activists alike who want to create a future with more transformative sustainability.

Emphasizing the resilience of theatre arts in the midst of significant political change, Theatre After Empire spotlights the emergence of new performance styles in the wake of collapsed political systems. Centering on theatrical works from the late nineteenth century to the present, twelve original essays written by prominent theatre scholars showcase the development of new work after social revolutions, independence campaigns, the overthrow of monarchies, and world wars. Global in scope, this book features performances occurring across Africa, the Americas, Asia, Europe, and the Middle East. The essays attend to a range of live events—theatre, dance, and performance art—that stage subaltern experiences and reveal societies in the midst of cultural, political, and geographic transition. This collection is an engaging resource for students and scholars of theatre and performance; world history; and those interested in postcolonialism, multiculturalism, and transnationalism. The Introduction ("Framing Latine Theatre and Performance") of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

Imagined Theatres collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre. Each scenario is mirrored by a brief accompanying reflection, asking what they might mean for our thinking about the theatre. These many possible worlds circle around questions that include: In what way is writing itself a performance? How do we understand the relationship between real performances that engender imaginary reflections and imaginary conceptions that form the basis for real theatrical productions? Are we not always imagining theatres when we read or even when we sit in the theatre, watching whatever event we imagine we are seeing?