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The title of this book, Refugee Performance, suggests there is a constituency of practices that might be unified under a definite term or god forbid to propose a new field of study. This is far from the intentions of the collection. This collection has grown out of an interest in performance and theatre in sites of war and the impact of conflict on diasporic communities. The chapters represent stories from a range of countries and war contexts, including Iraq, Thailand, Burma, Uganda, Palestine, Croatia, Serbia, Australia, the United Kingdom and the United States of America.

Chapter 1: Iraqi Memories: A Personal and Poetic Exploration of Homecomings, Departures and Arrivals from a Theatre Director Who Fled Iraq in 1987 and Returns Home Again – Niz Jabour

Chapter 2: On Stitches – Michael Balfour and Nina Woodrow

Chapter 3: Health Theatre in a Hmong Refugee Camp: Performance, Communication, and Culture – Dwight Conquergood

Chapter 4: Play Extract: Forged in Fire – A performance text created by Okello Kelo Sam, Laura Edmondson, and Robert Ajwang

Chapter 5: Narrative Theatre as an Interactive Community Approach to Mobilizing Collective Action in Northern Uganda – Yvonne Sliep, Kaethe Weingarten, and Andrew Gilbert

Chapter 6: Marketing Trauma and the Theatre of War in Northern Uganda – Laura Edmondson

Chapter 7: Encounters in the Aida Refugee Camp in Palestine: Travel Notes on Attending Alrowwad Theatre’s Production of Handala (2011) – Rand T. Hazou

Chapter 8: Rape as War Strategy: A Drama from Croatia – Sanja Nikčević

Chapter 9: Far Away, So Close: Psychosocial and Theatre Activities with Serbian Refugees – Guglielmo Schininà

Chapter 10: Play Extract: Refugees – Zlatko Topčic´ (Translated into English by Davor Diklić)

Chapter 11: ‘Politics Begins as Ethics’: Levinasian Ethics and Australian Performance Concerning Refugees – Tom Burvill

Chapter 12: Refugee Performance: Encounters with Alterity – Michael Balfour

Chapter 13: Repeat Performance: Dancing DiDinga with the Lost Boys of Southern Sudan – Felecia Faye McMahon

Chapter 14: Theatre as a Healing Space: Ping Chong’s Children of War – Yuko Kurahashi

Chapter 15: Drama and Citizenship Education: Tensions of Creativity, Content and Cash – Sarah Woodland and Rob Lachowicz

Chapter 16: Inclusive Democracy: A Consideration of Playback Theatre with Refugee and Asylum Seekers in Australia – Rea Dennis

Chapter 17: Hospitable Stages and Civil Listening: Being an Audience for Participatory Refugee Theatre – Alison Jeffers

Sujets

Energie & environnement

Théâtre

Cultural Studies

General

Engineering

Technology

General officer

Theatre

Sciences et techniques

POLITICAL SCIENCE

Performing Arts

Public Policy

Power Resources

Informations

Publié par	Intellect Books
Date de parution	28 janvier 2013
Nombre de lectures	0
EAN13	9781841507866
Langue	English

Informations légales : prix de location à la page 0,2850€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Clare McFadden
Copy-editor: MPS Technologies
Production manager: Bethan Ball
Typesetting: Planman Technologies
ISBN 978-1-84150-637-1
eISBN 978-1-84150-786-6
Printed and bound by Bell & Bain, UK
Contents
Acknowledgements
Permissions
Illustrations
Author Biographies
Preface
Chapter 1: Iraqi Memories. A Personal and Poetic Exploration of Homecomings, Departures and Arrivals from a Theatre Director Who Fled Iraq in 1987 and Returns Home Again
Niz Jabour
Chapter 2: On Stitches
Michael Balfour and Nina Woodrow
Chapter 3: Health Theatre in a Hmong Refugee Camp: Performance, Communication, and Culture
Dwight Conquergood
Chapter 4: Play Extract: Forged in Fire
A performance text created by Okello Kelo Sam, Laura Edmondson, and Robert Ajwang’
Chapter 5: Narrative Theatre as an Interactive Community Approach to Mobilizing Collective Action in Northern Uganda
Yvonne Sliep, Kaethe Weingarten, and Andrew Gilbert
Chapter 6: Marketing Trauma and the Theatre of War in Northern Uganda
Laura Edmondson
Chapter 7: Encounters in the Aida Refugee Camp in Palestine: Travel Notes on Attending Alrowwad Theatre’s Production of Handala (2011)
Rand T. Hazou
Chapter 8: Rape as War Strategy: A Drama from Croatia
Sanja Nikčević
Chapter 9: Far Away, So Close: Psychosocial and Theatre Activities with Serbian Refugees
Guglielmo Schininà
Chapter 10: Play Extract: Refugees
Zlatko Topčić (Translated into English by Davor Diklić)
Chapter 11: ‘Politics Begins as Ethics’: Levinasian Ethics and Australian Performance Concerning Refugees
Tom Burvill
Chapter 12: Refugee Performance: Encounters with Alterity
Michael Balfour
Chapter 13: Repeat Performance: Dancing DiDinga with the Lost Boys of Southern Sudan
Felecia Faye McMahon
Chapter 14: Theatre as a Healing Space: Ping Chong’s Children of War
Yuko Kurahashi
Chapter 15: Drama and Citizenship Education: Tensions of Creativity, Content and Cash
Sarah Woodland and Rob Lachowicz
Chapter 16: Inclusive Democracy: A Consideration of Playback Theatre with Refugee and Asylum Seekers in Australia
Rea Dennis
Chapter 17: Hospitable Stages and Civil Listening: Being an Audience for Participatory Refugee Theatre
Alison Jeffers
Index
Acknowledgements
I would like to thank all the authors who have contributed to the collection. It is no mean feat to deliver manuscripts on time and with such professionalism, as always the deadlines were tight and the turnaround vicious.
Research and compilation for this book was undertaken with the support of an Australian Research Council (ARC) Linkage grant and generous sabbatical time given by Griffith University, Brisbane, Australia.
Thanks to Griffith colleagues for their generous support. Thanks to Nina Woodrow, our wonderful research assistant on the ARC grant, who creates miracles out of very little time and resources. I’d also like to thank Natalie Lazaroo for her efficient support on the book production.
Grateful thanks to Mercedes Sepulveda from Multilink Community Services, Logan, who took the effort to seek us out in the first place, and collaborated with us closely over a number of years. To Shona Doyle for her long-standing commitment to the project, and to Peter Forday (ex-CEO) and Helen Coyne, the current CEO, for working hard to make the partnership work despite a thousand other commitments.
Thanks also to my colleagues at the University of Manchester and the In Place of War team without whom I doubt this book or the current ARC project would have happened.
My acknowledgement and thanks also to Niz Jabour for his inspiration and tenacity.
Sincere thanks to the team at Intellect, in particular Melanie Marshall for her encouragement and belief in the project and Bethan Ball for her hard work on the manuscript.
Finally, my gratitude to the individuals and groups I continue to work with from a refugee background. To your openness and willingness to join in and have some fun.
Permissions
The editor wishes to thank the authors and publishers for their permission to use their work.

Balfour, Michael, ‘Refugee Performance: Encounters with Alterity,’ Journal of Arts and Communities, 2: 3 (2010), pp. 177–195.
Burvill, Tom, ‘“Politics Begins as Ethics”: Levinasian Ethics and Australian Performance Concerning Refugees,’ Research in Drama Education: The Journal of Applied Theatre and Performance , 13: 2 (2008), pp. 233–243.
Conquergood, Dwight, ‘Health Theatre in a Hmong Refugee Camp: Performance, Communication, and Culture,’ TDR , 32: 3 (Autumn 1998), pp. 174–208.
Dennis, Rea, ‘Inclusive Democracy: A Consideration of Playback Theatre with Refugee and Asylum Seekers in Australia,’ Research in Drama Education: The Journal of Applied Theatre and Performance , 12: 3 (2007), pp. 355–370.
Edmondson, Laura, ‘Marketing Trauma and the Theatre of War in Northern Uganda,’ Theatre Journal , 57: 3 (October 2005), pp. 451–474.
Kurahashi, Yuko, ‘Theatre as the Healing Space: Ping Chong’s Children of War ,’ Studies in Theatre and Performance, 24: 1 (2004), pp. 23–36.
McMahon, F. F. (Felicia Faye), ‘Repeat Performance: Dancing DiDinga with the Lost Boys of Southern Sudan,’ Journal of American Folklore , 118: 469 (Summer 2005), pp. 354–379.
Nikčević, Sanja, ‘Rape as War Strategy: A Drama from Croatia,’ PAJ: A Journal of Performance and Art , PAJ 77, 26: 2 (May 2004), pp. 110–114.
Schininà, Guglielmo, ‘Far Away, So Close: Psychosocial and Theatre Activities with Serbian Refugees,’ TDR, 48: 3 (T183) (Fall 2004), pp. 32–49.
Sliep, Yvonne, Weingarten, Kaethe, and Gilbert, Andrew, ‘Narrative theatre as an interactive community approach to mobilizing collective action in Northern Uganda,’ Families, Systems, & Health , 22: 3 (2004), pp. 306–320.
Illustrations
Front and back cover: Clare McFadden, www.claremcfadden.com/
Clare McFadden is a designer, producer and facilitator of arts-based programmes for children and communities. She works in schools, kindergartens and cultural institutions across Australia. Clare has designed for theatre, film and music productions and her illustrations have been exhibited in group and solo shows, most recently, at the 2011 Bologna Children’s Book Fair, Italy. In 2010, Clare was the recipient of the Lord Mayor’s Young and Emerging Artist’s Fellowship – enabling her to investigate international best practice methods of engaging children in the arts. In 2011 she was a recipient of the May Gibbs Children’s Literature Trust Fellowship. She wrote and illustrated The Flying Orchestra . The book was awarded the 2011 Children’s Book Council of Australia Crichton Award and was selected as one of the ‘50 Books You Can’t Put Down’ as part of the Australian Government’s ‘Get Reading’ Campaign.
‘Encounters in the Aida Refugee Camp in Palestine: Travel Notes on Attending Alrowwad Theatre’s Production of Handala’ (2011). Rand T. Hazou. Figure 1: Copyright the Naji Al-Ali Family, Handala , reprinted with kind permission. Figure 2: Alrowwad Cultural and Theatre Training Society (ACTS), Handala (2011), reprinted with kind permission. Figure 3: Alrowwad Cultural and Theatre Training Society (ACTS), Handala (2011), reprinted with kind permission.
‘Refugee Performance: Encounters with Alterity,’ Michael Balfour. Figure 1: Copyright Wendy Ewald, Towards a Promised Land , reprinted with kind permission. Figure 2: Waste Man 1–4. Copyright Anthony Gormley, Waste Man , reprinted with kind permission. Figure 3: Towards a Promised Land 1. Copyright Thiery Bal, 2006, reprinted with kind permission. Figure 4: Towards a Promised Land 2, Wendy Ewald, Towards a Promised Land , reprinted with kind permission.
‘Drama and Citizenship Education: Tensions of Creativity, Content and Cash,’ Sarah Woodland and Rob Lachowicz, Venuste with suitcase . Reprinted with kind permission, Sarah Woodland.
‘Hospitable Stages and Civil Listening: Being an Audience for Participatory Refugee Theatre,’ Alison Jeffers, Afrocats performing in Nyubani Wapi? Where is Home?, Manchester, 2006. Reproduced with the permission of Community Arts North West.
Author Biographies
Michael Balfour is Chair, Applied Theatre, Griffith University, Brisbane, Australia. His research expertise is in the social applications of theatre – theatre in communities, social institutions, and areas of disadvantage and conflict. He is the recipient of four current Australian Research Council-funded projects: Refugee Performance, developing drama-based projects with refugee new arrivals; The Difficult Return, creating new approaches to arts-based work with returning military personnel and their families; Captive Audiences, evaluating the impact of performing arts programmes in Australian prisons; and Playful Engagement , exploring applied theatre methodologies with people with mid- to late dementia in aged-care facilities. Previously, Michael was a researcher on In Place of War , a four-year Arts and Humanities Research Council (UK) project. He is the author of a number of key publications in the field of applied theatre, including Performance: In Place of War (co-author with James Thompson and Jenny Hughes) (Seagull Press, 2009), Drama as Social Intervention (co-author with John Somers) (Captus Press, 2006), Theatre in Prison (Intellect, 2004) and Theatre and War 1933–1945: Performance in Extremis (Berghahn Books, 2001). Contact: m.balfour@griffith.edu.au .
Tom Burvill is Senior