By Jon McKenzie, Heike Roms, C. J. Wan-Ling Wee

Contesting functionality is a different and dynamic choice of essays through top foreign students that addresses the worldwide improvement of cultural functionality examine. the quantity features as a severe reader on various, localised techniques to learning functionality, utilizing case reports from Mexico, Australia, Japan, Israel and Croatia, among others. that includes members comparable to Freddie Rokem, Shannon Jackson, Lauren Kruger and Sharon Aronson-Lehavi, this landmark assortment also will exhibit networks of useful and theoretical matters that contest dominant types of functionality stories.

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Extra resources for Contesting Performance: Emerging Sites of Research (Performance Interventions)

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Terms such as ‘digital divide,’ which signal concerns about access to new technologies, simultaneously threatened to reinscribe notions of underdevelopment in regard to knowledge production. ’ English, moreover, had become the lingua franca of the Internet, leaving huge populations out of important debates. Our goal was not to deliver materials to new audiences (one-way transaction), but to create a multi-lingual workspace that built capacity at all the sites. The principle guiding this project is one of partnership in producing knowledge, rather than simply delivery of existing courses online.

1 It was, of course, an Australian who asked the question, for it is Australians who experience most directly the uncertainties as to where their country is located – and is seen to be located – within the global polity, and where they themselves would locate it. The gap between the view or views from within and views from without indicates the complexity of the country’s current colonial/postcolonial situation and the way this impacts upon relations with both geographical neighbors and erstwhile colonial authorities.

Soon, it became clear that we could do more. We could actively involve artists and activists in exploring the intersections of performance and politics by bringing us all together for an annual ten-day intensive workshop/conference/performance festival or Encuentro. We could create new knowledge and actually help build the field we were purportedly studying through our team-teach courses, our ten-day Encuentro, our e-journal e-misférica, and year-long working groups and projects we developed with artists and activists.

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