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| Srl | Item |
| 1 |
ID:
133591
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| Publication |
2014.
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| Summary/Abstract |
A group of elderly women set up prayer camps in public roundabouts throughout Nicaragua's capital, Managua, to pray for 'peace and reconciliation.' A few miles away, in a humble barrio, escaping sexual discrimination and violence, a 24-year-old transvestite performs a sexually charged act in a circus. Meanwhile, across from the national parliament, hundreds of ex-agricultural workers exposed to the pesticide nemagon exhibit their dying flesh to the nation and the world in order to expose corporate greed and government inaction. These cases, happening under the new Sandinista regime, reflect a plurality of social spaces where theatricality, as the rhetorical manipulation of spaces and bodies aiming to affect publics, has become a mechanism for revealing the interstices of power relations in present day Nicaragua. This work explores various instances of linked and entwined government-sponsored and -sanctioned social performances of power and visibility, as well as other social performances that draw attention to the gap between the rhetoric of the government and social reality.
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| 2 |
ID:
133590
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| Publication |
2014.
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| Summary/Abstract |
This article focuses on the assassination of Guatemalan lawyer, Rodrigo Rosenberg, on 10 May 2009 and his videotaped accusation of the Colom administration, broadcast after his death. Rosenberg's self-produced video testimony, and the 'staging' of his own death, opens up questions about the role of testimonio and theatricality as modes of political address. I argue that the spectacular politics of the Rosenberg video, while drawing from the testimonio genre and incorporating electronic media, mark a return to a baroque conception of politics.
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| 3 |
ID:
184134
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| Summary/Abstract |
This article examines representations of border security within public museums, through the example of the UK Border Force National Museum. It begins by discussing the way that international borders are theatrically experienced, and the parallel characteristics of museum spaces. I then suggest the value of performance autoethnography when analysing such phenomena, which arises from the ability to creatively situate personal experience alongside institutional scripts of border control. The article then presents a performance autoethnography that illustrates my experiences within the Border Force Museum. This provides new insights into the theatrical framing of the museum and its effect on visitor interpretations. The article demonstrates that the Border Force Museum replicates the theatricality of border control sites, and thus supports the ordering of bodies into insiders and outsiders; however, creative methods for knowledge production might offer a means of challenging existing border taxonomies, especially when personal experience is circulated through theatrical means.
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