Performing the bounds of responsibility
- Authors: Berger, Karen
- Date: 2021
- Type: Text , Journal article
- Relation: Humanities Vol. 10, no. 4 (2021), p. 112
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- Reviewed:
- Description: This paper investigates border-making dynamics in the two political arenas where my subjectivity is most acutely implicated across time—the Jewish Holocaust (as an intergenerational victim) and the Aboriginal genocide (as an unwitting beneficiary). Albeit that there are many differences between the drivers of antisemitism and racism against Indigenous Australians, I investigate both of these racist structures through the lens of border-thinking as theorised by Walter Mignolo as a method of decolonisation (2006). The article has been formatted as an example of discursive border-crossing by juxtaposing theoretical ideas (particularly inspired by Zygmunt Bauman and Deborah Bird Rose) with interjections from my personal journal. I explore my own performative storytelling as a means for me to take responsibility to question power structures, acknowledge injustice, and to enact the potential for ethical dialogue between myself and others. This responsibility gestures to the possibility of border crossing as an ‘act of liberation’ that resides in the acknowledgement of historical injustices and their continued impact on both the beneficiaries and the victims of coloniality in the present.
- Authors: Berger, Karen
- Date: 2021
- Type: Text , Journal article
- Relation: Humanities Vol. 10, no. 4 (2021), p. 112
- Full Text:
- Reviewed:
- Description: This paper investigates border-making dynamics in the two political arenas where my subjectivity is most acutely implicated across time—the Jewish Holocaust (as an intergenerational victim) and the Aboriginal genocide (as an unwitting beneficiary). Albeit that there are many differences between the drivers of antisemitism and racism against Indigenous Australians, I investigate both of these racist structures through the lens of border-thinking as theorised by Walter Mignolo as a method of decolonisation (2006). The article has been formatted as an example of discursive border-crossing by juxtaposing theoretical ideas (particularly inspired by Zygmunt Bauman and Deborah Bird Rose) with interjections from my personal journal. I explore my own performative storytelling as a means for me to take responsibility to question power structures, acknowledge injustice, and to enact the potential for ethical dialogue between myself and others. This responsibility gestures to the possibility of border crossing as an ‘act of liberation’ that resides in the acknowledgement of historical injustices and their continued impact on both the beneficiaries and the victims of coloniality in the present.
Exploring the interior : performing situated responsibility in postcolonising Australia
- Authors: Berger, Karen
- Date: 2020
- Type: Text , Thesis , PhD
- Full Text:
- Description: Theatre is a powerful way to investigate the operation of borders due to its live, immediate focus on representation and its potential to test a society’s boundaries. This practice-led research incorporates a performance and an exegesis to ask, ‘How can site-specific theatre that investigates the performance of borders and heterotopia enhance understanding of individual responsibility in postcolonising Australia?’ I take the term postcolonising from Aileen Moreton-Robinson, who argues that the beneficiaries of settler-colonialism (such as myself) must accept responsibility for the past before attempting to address its injustices. As an artist, I am inspired by anthropologist, Deborah Bird Rose, who privileges storytelling as a way of breaking boundaries between the past and present. Michel Foucault coined the term heterotopia (other place) to denote a single real space that juxtaposes several sites that are incompatible. This evokes the contemporary Australian situation of contested sovereignty. As Joanne Tompkins argues, heterotopic theatre can enact such a space in order to raise awareness and work towards societal change. My research demonstrates this both theoretically and practically. My exegesis crosses borders to create a heterotopia by juxtaposing past, present and possible futures, stories and theoretical understandings from diverse sources. The performance created at my home, rather than in a theatre, layers family, local, Australian and international histories to highlight the continuum between the personal and political, and to question current structures of power and knowledge. I use site-specific theatre to diminish the boundaries between performer and audience, creating a visceral heterotopia that facilitates a deeper understanding of personal responsibility in the context of postcolonising Australia.
- Description: Doctor of Philosophy
- Authors: Berger, Karen
- Date: 2020
- Type: Text , Thesis , PhD
- Full Text:
- Description: Theatre is a powerful way to investigate the operation of borders due to its live, immediate focus on representation and its potential to test a society’s boundaries. This practice-led research incorporates a performance and an exegesis to ask, ‘How can site-specific theatre that investigates the performance of borders and heterotopia enhance understanding of individual responsibility in postcolonising Australia?’ I take the term postcolonising from Aileen Moreton-Robinson, who argues that the beneficiaries of settler-colonialism (such as myself) must accept responsibility for the past before attempting to address its injustices. As an artist, I am inspired by anthropologist, Deborah Bird Rose, who privileges storytelling as a way of breaking boundaries between the past and present. Michel Foucault coined the term heterotopia (other place) to denote a single real space that juxtaposes several sites that are incompatible. This evokes the contemporary Australian situation of contested sovereignty. As Joanne Tompkins argues, heterotopic theatre can enact such a space in order to raise awareness and work towards societal change. My research demonstrates this both theoretically and practically. My exegesis crosses borders to create a heterotopia by juxtaposing past, present and possible futures, stories and theoretical understandings from diverse sources. The performance created at my home, rather than in a theatre, layers family, local, Australian and international histories to highlight the continuum between the personal and political, and to question current structures of power and knowledge. I use site-specific theatre to diminish the boundaries between performer and audience, creating a visceral heterotopia that facilitates a deeper understanding of personal responsibility in the context of postcolonising Australia.
- Description: Doctor of Philosophy
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