Search Results

You are looking at 1 - 10 of 10 items :

  • "Artistic Case Studies" x
Clear All

Chapter 4 Artistic Case Study Farah Saleh: Free Advice (2015) “Nothing is for Free” read the pieces of cardboard held by two audience members standing next to each other, arranged in space by choreographer Farah Saleh.1 Resembling a picture constituted by living bodies, this temporary tableau vivant references the title of the interactive performance—Free Advice—about to take place in a mid-scale training studio for dance. The two words present a game of loosely placed associations, resonances, and playful speculation: free or for free,2

Chapter 5 Artistic Case Study Dictaphone Group: Nothing to Declare (2013) People began to call us border crossers. In reality, we felt trapped in between an Occupied Palestine, the brutality in Syria, and a privatized seashore. Border crossing became our theatrical act, but sometimes our suicidal act. We learned that we cannot just appear on borders and hope for the best. The mere appearance on some borders may result in detention, disappearance, or death. […] Each border demands from us a specific performance. Passing through open

Chapter 3 Artistic Case Study Basel Abbas and Ruanne Abou-Rahme: Contingency (2010) Even before I emerged from childhood, I seemed to have experienced, deeply at heart, that paradox- ical feeling which was to dominate me all through the first part of my life: that of living in a world without any possible escape, in which there was nothing but to fight for an IMPOSSIBLE escape. Basel Abbas and Ruanne Abou-Rahme, 2013b. Possible and impossible escapes, changing territories, and border effects—, “issues to do with the politics of desire and

Artistic Articulations of Borders and Collectivity from Lebanon and Palestine
Series: TanzScripte, 52

| 51 To Unlearn what has been Learnt: On Epistemic Disobedience | 54 2.2 Aesthetic Evidence. Working with Artistic Case Studies | 60 The Epistemic Potential of Imagination and Experience | 61 Methodological Reflections on Case Study Work | 64 Criteria for Selecting the Artistic Case Studies | 65 2.3 Corpus of Empirical Materials and Analytical Methods | 67 Measuring Proximity and Distance: Fieldwork | 69 Performance Documents: From Dramaturgy to Dramaturgical Analysis | 70 Interviews and Transcription | 76 Organization of the Data and Structure of the

cannot be thought of without movement: movement experienced on one’s own and others’ bodies; movement stored in maps, in border technolo- gy, or in our gestures, gazes, and somatic fabric; movement that unfolds along- side competing official and alternative rules and values through which physical, geopolitical, digital, and aesthetic space are immanently inter-connected; and movement that regulates the dynamics of living together. My dramaturgical analyses of the artistic case studies suggest that aesthetic experience can function as a lens through which these

, more specifically, a sample of three artistic case studies that rework to different extents specific experiences of borders and collectivity as a starting point: the live sound installation Contingency (2010) by Basel Abbas and Ruanne Abou- Rahme, the interactive performance Free Advice (2015) by choreographer and dancer Farah Saleh, and the lecture-performance Nothing to Declare (2013) by the female live arts collective Dictaphone Group.3 Each artistic work engages with the cultural and geopolitical contexts of Lebanon or Palestine/Israel. A mixed-media corpus

Chapter 2 Negotiating Engagement: the Empirical Part of the Study Resilient Bodies, Residual Effects emerges from my experience as a curator and researcher in the Lebanese and Palestinian art scenes, with Beirut and Ramallah being their center. Informed by a mixed-media corpus of empirical materials, the present volume consists of qualitative and comparative analyses of three artistic case studies that elucidate the contexts and environments of those art scenes: Contingency (2010) by Basel Abbas and Ruanne Abou-Rahme, Free Advice (2015) by

, including artists, position themselves critically vis-à-vis the two other poles of power, knowing that the civil society is by far the weakest and most fragile pole of the three.” (Majdalanie 2018, 61) The artistic case studies exemplify the basic assumption that a body’s belonging—its representation as well as the way that it is experienced and perceived—is significantly determined by its basic alignment with one or several communities or collectives. This precondition does not ignore a body’s individu- ality and singularity. It is also not static, but evolves

. Guignard, Xavier. 2013. “Récreation, Récreation, Résistance: Quels Rôles pour la Dabké en Palestine?” In Jeunesse arabes: Du Maroc au Yémen; Loisirs, Cultures et Politiques, edited by Laurent Bonnefoy and Myriam Catusse, 172-81. Paris: La Découverte. Haddad King, Samar. 2016. “On the Notion of Time in Contemporary Choreo- graphy from the Perspective of Young Arab Artists.” Lecture (unpublished) delivered at Dance Congress, Hanover. June 19, 2016. Haddad King, Samar, and Sandra Noeth. 2018. “The Body as a Site of Power: An Artistic Case Study on Contemporary