Matthias Lilienthal, July 18, 2013
It’s so easy to get it wrong. Soon after arriving in Beirut, I end up at a kefta stand; a small, garage-like shack that no tourist would voluntarily set foot in. Yet the kefta and the chicken skewers taste fantastic. While eating, I look around. Straight across, there is a bus terminal. Especially in the darkness, it is at first difficult …
Matthias Lilienthal, June 12, 2013
My flat is located in the Armenian neighbourhood of Geitawi. It is beautiful and spacious. Directly across, a man shouts every ten minutes. He used to teach Arabic, then he got fired. Now he teaches the street swearwords and curses, of which the Arabic language knows many. The light goes on and his voice thunders …
David Savran, March 28, 2013
For the first time during my travels abroad, I decided to keep a journal, expecting that I would want to record and process the extraordinary experiences I knew I was going to have. Since I am a careful observer of foreign cultures and always try to get to know local artists, this journal, quite unintentionally, became schizophrenic: half a Western tourist’s Orientalist musings and half the attempts of a student of culture to understand Egypt’s political and cultural economies. Reading it again in light of the uprising in Tahrir Square, I realized that my schizophrenic prose had unwittingly captured a “state of emergency,” a moment of coming-into-being, which, Walter Benjamin notes, “is not the exception but the rule,” and of which we become sensible only by hearkening to the “tradition of the oppressed.” These entries thus document a state of emergency which, like all such states, becomes recognizable only in retrospect. To my own journal, I append the first two emails I received from Egyptian friends after the revolution began.
Khalid Amine, March 27, 2013
International theatre research has long studied the world before undergoing its revolution from the inside. Should the world study back or, rather, perform back while striving for recognition? The intercultural debate of the 1980s and 1990s implied the possibility of a democratic interweaving of performance cultures across the globe. Still, the task of postcolonial scholarship is further complicated by the existing body of world theatre histories. Our performance cultures are hardly visible in the “universal narrative of capital – History 1”, typically edited out, and otherwise often only mentioned on the borderlines between absence and presence. Europe has always been the silent referent in world theatre history. With rising demands for further democratizing the discipline, new modes of writing theatre history from below have emerged with an earnest desire for inclusion ….
Lydia Haustein, December 20, 2012
Joy Kristin Kalu, October 29, 2012
In her article “On the Myth of Authentic Representation: Blackface as Reenactment“ Joy Kristin Kalu examines the current blackface debate from the standpoint of appropriation art and reenactment. She argues that the strategic repetition of historically loaded, in this case even racist practices can potentially lead to re-signification and thereby undermine conventions. Instead of demonizing blackface per se, she suggests conceiving performance as a political space of negotiation, thus allowing for the possibility, perhaps through citation, to generate new meanings for old aesthetic processes.