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Academic literature on the topic 'Counter-Hegemonic Performance'
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Journal articles on the topic "Counter-Hegemonic Performance"
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Hoffman, Julie Wasmund, and Jennifer L. Martin. "Critical Social Justice Inquiry Circles: Using Counter-Story as a Counter-Hegemonic Project." Qualitative Inquiry 26, no. 6 (July 7, 2019): 687–94. http://dx.doi.org/10.1177/1077800419859028.
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This article presents a qualitative dialogic poetic response in the form of a critical social justice inquiry circle and a critical reading of Long Way Down by Jason Reynolds as poetry and as an intentional gesture of listening as activism. This discourse is one of resistance to the acritical/apolitical nature of schooling and to prepare hegemonic/White educators to become culturally responsive (ala Milner) and to devise a new critical methodology, we embark on this radical proposition. Our use of critical social justice inquiry circles using poetic dialogue is inspired by Denzin’s conception of Critical Performance Pedagogy.
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Gammon, Thi Luong. "Making sense of discomfort: the performance of masculinity and (counter-)transference." Journal of Psychosocial Studies 14, no. 2 (July 1, 2021): 89–103. http://dx.doi.org/10.1332/147867321x16218461456999.
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This article features a case study about the author’s two research encounters with an emotionally reluctant male participant who seemed to experience discomfort and who also made the author feel uncomfortable. To make sense of this mutual experience of discomfort, the article explores the intersubjective exchange between the interviewer and her participant through the application of the psychoanalytic concepts of ‘defence’ and ‘(counter-)transference’. The article argues that the mutual discomfort resulted from the participant’s desire to perform masculinity in ways that fit the Vietnamese hegemonic masculinity and from the researcher’s inability to identify this desire during the interviews. By locating the participant’s engagement with hegemonic masculinity within the sociocultural context of contemporary Vietnam, and investigating the resulting discomfort, the article demonstrates how applying a psychosocial approach to a research relationship can be fruitful. It shows that such an approach can help researchers acquire unexpected insights into the psychological and social meanings of research encounters beyond an analysis of just the text, thus adding to methodological discussions about qualitative interviews.
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Popp, Ashley M., and Chia-Ju Yen. "The Global Transformation of Belly Dancing: A Cross-Cultural Investigation of Counter-Hegemonic Responses." Physical Culture and Sport. Studies and Research 55, no. 1 (October 31, 2012): 17–29. http://dx.doi.org/10.2478/v10141-012-0002-7.
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AbstractThe first part of this study, explored by Ashley Popp, presents an investigation into a relatively unexamined area of physical education: an analysis of a transcultural phenomenon in the history of dance. Data has been collected from primary sources and archival evidence to assess competing ideologies inherent in the transformation of a particular art form. In the analysis of the cultural migration through which belly dance was transferred from the Middle East to the United States, an adaptive reaction to the hegemonic relationships of culture, race, gender, and class has been observed. Beyond performance aesthetics, links have been made between the act of belly dancing and the building of women’s self-esteem, as researched by Chia-Ju Yen. The main purpose of her study was to explore how facial burn patients cope with disfigurement and the unfriendly attitudes of others, and examines the alteration of body image via inspiration provided by the performance of belly dance. This research was conducted from the perspective of an anthropologically thickdescription research method, and a case study was performed using in-depth interviews, including narratives by a woman who had suffered facial injuries. The results of the research showed that through family support, hard work and a decisive and studious personality, the patient was able to cope with the discriminatory attitude of others. The performance of belly dance not only made her emphasize her body, but also enriched her life.
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Moosavi, Marjan. "Desacralizing Whispers: Counter-Conduct in the Iranian War Theatre." New Theatre Quarterly 34, no. 3 (July 13, 2018): 235–48. http://dx.doi.org/10.1017/s0266464x18000222.
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The commemoration of sacrifice and martyrdom in the Iran–Iraq war led to dissemination of the ‘sacred defence’ culture and its theatre progeny – the Arzeshi genre, which is rooted in Shi’i religious values, Persian culture, and Iranian performance traditions. In response to this, Iranian anti-war theatre practitioners have intervened through a counter-conduct theatricality made up of characters, stories, reasoning, embodied emotions, and scenic languages. A thematic and aesthetic analysis of three stagings of the anti-war play The Whispers Behind the Front Line by the prominent Iranian playwright/director Alirezā Nāderi shows that there has been a shift over two periods of time regarding ‘disguised counter-hegemonic dramaturgy’, alternative characterization, and the ethical engagements of artists with the narrative of war. In this study Marjan Moosavi shows that theatre counter-conducts have shifted since 1995 from a realist aesthetic, reflecting a specific event – the Iran–Iraq war – to a universal, abstract aesthetic practice that sees war as a global phenomenon. Marjan Moosavi is an Iranian-Canadian PhD candidate and instructor at the University of Toronto's Centre for Drama, Theatre, and Performance Studies. She has published articles on Iranian dramaturgy and diasporic theatre in The Routledge Companion to Dramaturgy, TDR, and Critical Stages.
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Chakraborty, Aishika. "In Leotards Under Her Sari: An Indian Contemporary Dancer in America." Congress on Research in Dance Conference Proceedings 2014 (2014): 39–51. http://dx.doi.org/10.1017/cor.2014.6.
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Traversing through disparate cultural and geographic frontiers, my paper maps the journey of a Bengali dancer, Manjusri Chaki-Sircar, who travels from India to America via Africa before putting her “roots” finally down in India, exploring the migration of body movements across the world. Spelling a new body politics, her dance inscribes the signature of her-self in moving space(s); weaving varied patterns of life experiences; telling tales of displacements, exodus, and resettlements; and fashioning a glocal perspective of movement in a “global political moment.”Situating Manjusri within a counter-centric discourse, my paper underscores the counter-hegemonic agency of her feminist choreographies that opened up “an other” genre of bodily idiom, turning the flattering feminine performance into a site for cultural politics. From the dynamic landscape of post-partitioned Bengal, I will trace how the idiom evolved, migrated, and altered, changing, by the end of the century, the face of Indian contemporary dance.
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Seppälä, Mikko-Olavi. "Judgment Day: The Workers’ Stage and the Popular Front in 1930s Finland." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 66. http://dx.doi.org/10.7146/nts.v29i2.104606.
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The Workers’ Stage (in Finnish ‘Työväen Näyttämö’) was an amateur workers’ theatre based in Helsinki. The theatre experienced its height of success when it co-operated with left-wing intellectuals between 1934 and 1939. As an organic part of the Popular Front movement, the theatre brought an international anti-fascist repertoire to Finland. In the performance of Elmer Rice’s Judgment Day (1935) the struggle for civil rights in Finland was put in the larger frame of the international struggle against Fascism. Uniting intellectuals and workers, the theatre and its activist personnel also functioned as a platform for the practical organising of counter-hegemonic intervention and underground activism. For the activist left-wing opposition, theatre functioned as an extension of their political journals, as a (counter-)public sphere and a vehicle for highlighting contemporary political problems, accelerating public discussion and engaging more people – workers and intellectuals alike – in fruitful interaction. The activism had clear political results in the 1936 elections, although the personal outcome for the activist artists and communists turned out to be controversial, as they remained rejected from the new hegemony.
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Wilson, Leah E. "Performing the techno-self: Paul B. Preciado’s Testo Junkie as a twenty-first century feminist narrative." French Cultural Studies 31, no. 4 (October 21, 2020): 342–52. http://dx.doi.org/10.1177/0957155820961647.
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This article examines Paul B. Preciado’s Testo Junkie as portraying the need for a postpornographic trans* feminism that contests homonormative queer and feminist responses to LGBTQIA+ (lesbian, gay, bisexual, transgender, queer/questioning, intersex, and asexual) individuals in neoliberal French and Francophone societies during the rise of far-right anti-gender movements. Interrogating Preciado’s autotheory text, which questions what gendered performance entails in the pharmacopornographic era, allows for a consideration of the author’s bodily subjectivity and how he represents material-discursive practices to theorise his techno-identity. The article argues that Preciado highlights his sexual and gendered performance to assert a trans* identity that rebels against classification. Unveiling the multiplicity of gendered and sexual experiences that counter Western hegemonic binary categorisations, Preciado shows readers that through his material representation, he controls his own subjectivity to centre possibility with postpornographic feminist performance, expanding what it means to be a feminist subject in the twenty-first century.
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Micheal Abada, Ifeanyichukwu, Charles Akale, Kingsley Chigozie Udegbunam, and Olihe A. Ononogbu. "National Interests and Regional Security in the Lake Chad: Assessing the Multinational Joint Task Force." Journal of Social Sciences Research, no. 61 (January 5, 2020): 40–49. http://dx.doi.org/10.32861/jssr.61.40.49.
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This article assessed security architecture for counter-insurgency against Boko Haram in the Lake Chad Basin (LCB). The paper diagnosed the impact of conflicting national interests of contributing nations on the performance of the Multinational Joint Task Force (MNJTF) as a regional security architecture in the LCB. Some scholars and analysts cite corruption, historical contradictions among LCB members, poor funding, and complex nature of the insurgency, as factors responsible for failure of counter-insurgency operations in the LCB. Others contend that resource geopolitics, linguistic differences, and hegemonic politics have impacted negatively on the capacity of the MNJTF to decimate terrorists in the region. This is a qualitative study that draws from the Fund for Peace, International Crisis Group (ICG), Lake Chad Basin Commission, the Armed Conflict Location and Event Data (ACLED), and research literature dealing with national interest and military alliances, while using content analysis to argue that conflicts in national interests, more than any other factor, have hampered the collaborative efforts of the Lake Chad Basin Commission (LCBC) and weakened the capacity of the MNJTF to engage in robust counterinsurgency against Boko Haram in the LCB.
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Bantjes, Jason, and Curwyn Mapaling. "“I’m Not Afraid of Dying Because I’ve Got Nothing to Lose”: Young Men in South Africa Talk About Nonfatal Suicidal Behavior." American Journal of Men's Health 15, no. 2 (March 2021): 155798832199615. http://dx.doi.org/10.1177/1557988321996154.
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First-person narratives of suicidal behavior may provide novel insights into how individuals with lived experience of suicide understand and narrate their behavior. Our aim was to explore the narratives of young men hospitalized following nonfatal suicidal behavior (NFSB), in order to understand how young suicidal men construct and understand their actions. Data were collected via narrative interviews with 14 men (aged 18–34 years) admitted to hospital following an act of NFSB in Cape Town, South Africa. Narrative analysis was used to analyze the data. Two dominant narratives emerged in which participants drew on tropes of the “great escape” and “heroic resistance,” performing elements of hegemonic masculinity in the way they narrated their experiences. Participants position themselves as rational heroic agents and present their suicidal behavior as goal-directed action to solve problems, assert control, and enact resistance. This dominant narrative is incongruent with the mainstream biomedical account of suicide as a symptom of psychopathology. The young men also articulated two counter-narratives, in which they deny responsibility for their actions and position themselves as defeated, overpowered, wary, and unheroic. The findings lend support to the idea that there is not only one narrative of young men’s suicide, and that competing and contradictory narratives can be found even within a dominant hyper-masculine account of suicidal behavior. Gender-sensitive suicide prevention strategies should not assume that all men share a common understanding of suicide. Suicide can be enacted as both a performance of masculinity and as a resistance to hegemonic gender roles.
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Alshetawi, Mahmoud F. "Combating 9/11 Negative Images of Arabs in American Culture: A Study of Yussef El Guindi’s Drama." Journal of Ethnic and Cultural Studies 7, no. 3 (October 15, 2020): 177. http://dx.doi.org/10.29333/ejecs/458.
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This study intends to examine the dramatic endeavours of Arab American playwrights to make their voices heard through drama, performance, and theatre in light of transnationalism and diaspora theory. The study argues that Arab American dramatists and theatre groups attempt to counter the hegemonic polemics against Arabs and Muslims, which have madly become characteristic of contemporary American literature and media following 9/11. In this context, this study examines Yussef El Guindi, an Egyptian-American, and his work. El Guindi has devoted most of his plays to fight the stereotypes that are persistently attributed to Arabs and Muslims, and his drama presents issues relating to identity formation and what this formation means to be Arab American. A scrutiny of these plays shows that El Guindi has dealt with an assortment of topics and issues all relating to the stereotypes of Arab Americans and the Middle East. These issues include racial profiling and surveillance, stereotypes of Arabs and Muslims in the cinema and theatre, and acculturation and clash of cultures.
Dissertations / Theses on the topic "Counter-Hegemonic Performance"
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Thornton, Matthew Paul. "Finding Voice, The Body Speaks: Original Work and Counter-Hegemonic Performance and Practice." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4767.
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Graduate study in theatre has allowed me to understand my work as an artist and educator from a critical academic perspective. I have researched Butoh as a model for original work that employs multiculturalism against hegemonic control of personal identity. From my own training experience, I am recognizing Capoeira, Contact Improvisation, and Devising processes (co-creation or collaborative creative process in dance) as counter-hegemonic forms and techniques that share a physical/philosophical emphasis on communal engagement, improvisation, circularity and repetition. Looking at them together provides points of intersection for me to examine them as an artist, while posing questions for cross-cultural investigations. In this process, it has been crucial to consider my personal relationship with these forms along with the aesthetics and values associated
with them, their potential use in academic contexts, and their support as practices to match theoretical discourse towards a pluralistic and multicultural society.
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Akbar, Maisha Shabazz. "Saving white face : lynching and counter-hegemonic lynching performances." Thesis, 2007. http://hdl.handle.net/2152/20983.
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"Saving White Face: Lynching and Counter Hegemonic Lynching Performances," examines American lynching as hegemonic performances constitutive of discursive and material practices that reinforce a cultural fiction, white supremacy. "Lynching studies" is identified as an interdisciplinary academic project that includes lynching history, analysis and (activist) cultural production. Among other approaches, "Saving White Face" uses psychoanalysis and ethnography to unmask lynching as a site where race- and gender-based identities originate. Lynching's "materialities," such as lynching photographs and souvenirs are examined as the bases of American consumer culture, especially as they relate to football and (the) O.J. Simpson (ordeal). This work also documents the production of my Chamber Theater adaptation of Bebe Moore Campbell's 1992 novel, Your Blues Ain't Like Mine (also entitled "Saving White Face"). I also contextualize this counter hegemonic performance as a lynching drama, as well as among radical black feminist activism and blues performance. As such, lynching is identified as an emergent performance practice which not only reinforces white identity, but lynched subjectivities, as well.text