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I Was Never Alone or Oporniki presents an original ethnographic stage play, based on fieldwork conducted in Russia with adults with disabilities. The core of the work is the script of the play itself, which is accompanied by a description of the script development process, from the research in the field to rehearsals for public performances. In a supporting essay, the author argues that both ethnography and theatre can be understood as designs for being together in unusual ways, and that both practices can be deepened by recognizing the vibrant social impact of interdependency animated by vulnerability, as identified by disability theorists and activists.
I Was Never Alone or Oporniki presents an original ethnographic stage play, based on fieldwork conducted in Russia with adults with disabilities. The core of the work is the script of the play itself, which is accompanied by a description of the script development process, from the research in the field to rehearsals for public performances. In a supporting essay, the author argues that both ethnography and theatre can be understood as designs for being together in unusual ways, and that both practices can be deepened by recognizing the vibrant social impact of interdependency animated by vulnerability, as identified by disability theorists and activists.
The Routledge Companion to the Anthropology of Performance provides a cutting-edge, comprehensive overview of the foundations, epistemologies, methodologies, key topics and current debates, and future directions in the field. It brings together work from the disciplines of anthropology and performance studies, as well as adjacent fields. Across 31 chapters, a diverse range of international scholars cover topics including: Ritual Theater Storytelling Music Dance Textiles Land Acknowledgments Indigenous Identity Visual Arts Embodiment Cognition Healing Festivals Politics Activism The Law Race and Ethnicity Gender and Sexuality Class Religion, Spirituality, and Faith Disability Leisure, Gaming, and Sport In addition, the included Appendix offers tools, exercises, and activities designed by contributors as useful suggestions to readers, both within and beyond academic contexts, to take the insights of performance anthropology into their work. This is a valuable reference for scholars and upper-level students in anthropology, performance studies, and related disciplines, including religious studies, art, philosophy, history, political science, gender studies, and education.
In this book, Jason B. Dorwart contends that the material presence of visible disability disrupts the framing devices that provide safe distancing for theatre’s fictive nature. Conceptions of disability that place the disabled body into a permanently liminal space between life and death are directly at odds with theatrical performances, which are geared toward moving through liminality into a new point of stasis. Dorwart reveals how this contradiction leads to performance practices that work to marginalize and eliminate the presence of disabled bodies of both character and actor, as disabled characters have historically been written with different character arcs than nondisabled characters and with the assumption that they would be played by nondisabled actors. As more disabled actors gain exposure in film and theatre, the difference in how disabled characters are written is also increasingly affected by whether the role is intended for a disabled or nondisabled actor. These performances are enacting new means to performatively and figuratively reincorporate or eliminate the liminal disabled body. The Incorporeal Corpse demonstrates how recent plays and films try to rectify this tension between the permanence of disability and the transitory nature of performance. Scholars of theatre, disability studies, and performance studies will find this book of particular interest.
The Maya of the Yucatán have long been drawn into the Mexican state's attempt to create modern Mexican citizens (mestizos). At the same time, they have contended with globalization pressures, first with hemp production and more recently with increased tourism and the fast-growing influence of American-based evangelical Protestantism. Despite these pressures to turn Maya into mestizo, the citizens of the small town of Maxcanú have used subtle forms of resistance—humor, satire, and language—to maintain aspects of their traditional identity. Loewe offers a contemporary look at a Maya community caught between tradition and modernity. He skilfully weaves the history of Mexico and this particular community into the analysis, offering a unique understanding of how one local community has faced the onslaught of modernization.
Set on the Italian island of Sardinia, Sing Me Back Home explores language and culture through songwriting as an ethnographic method. Based on thirteen months of ethnographic fieldwork writing songs with Sardinian musicians, artisans, shepherds, poets, and language activists, Kristina Jacobsen asks: How are Sardinian lives and language ideologies narrated against the backdrop of American music? The book shows how Sardinian musicians sing their own history between the lines. It reveals how Sardinian songs become a site of transduction where, through the process of songwriting, recording, and performance, the energy from one genre of music and lingua-culture is harnessed to signal another one much closer to home. Sing Me Back Home is accompanied by original songs written and recorded in the field, with links to songs in each chapter. It includes songwriting prompts and lyrics, a glossary of key terms, and photographs from the field. Drawing on work from critical collaborative research, auto-ethnography, public anthropology, arts-based research, and ethnographic poetry, this sensory ethnography offers new ways for us to hear culture through stories and songs.
In Suva, the bustling capital of Fiji, a tropical cyclone is looming. In this city of dazzling contradictions, three strangers are living worlds apart. Hannah is a young Australian expat who volunteers at a local health organization while leading a heady life of house parties and weekend getaways. Isikeli is a teenager from the informal settlement who has given up on his childhood dream of playing rugby and cares for his diabetic grandmother. Rishika is an Indo-Fijian historian who put her career on hold when she got married, only to find that her once compassionate husband has become increasingly estranged. When a brutal murder causes their worlds to collide, this unlikely trio must search for answers. Along the way, they are each forced to confront uncomfortable truths about development, its darker side, and their place within it. Based on a combination of long-term research and lived experience, this compelling ethnographic novel reveals the hidden ways global inequality and violence play out in the developing world. Keenly observed and full of heart, Sugar is an intimate portrayal of grief, friendship, and culture clash that will prompt new ways of thinking about the world.
Playing with the relation between truth and representation in the stories we tell as ethnographers and theater makers, this book contributes to the current debates around experimental research methodologies and ethnographically grounded theatrical forms. It departs from other studies by proposing a unique and accessible methodology that brings together theatrical devising practices and anthropology. Through its theoretical exploration and performative script, the book bridges the relation between ethnographic writing and performativity, and simultaneously troubles conventional narrative practices in theater and anthropology. The practice described in the book, Affect Theater, also emphasizes embodied and affective approaches to empirical research and defines a process for rendering this type of material into imaginative academic writing, collaborative performance, and other inventive forms, applicable across a range of academic disciplines.
Ambassadors of Social Progress examines the ways in which blind activists from the Soviet Union and Eastern Europe entered the postwar international disability movement and shaped its content and its course. Maria Cristina Galmarini shows that the international work of socialist blind activists was defined by the larger politics of the Cold War and, in many respects, represented a field of competition with the West in which the East could shine. Yet, her study also reveals that socialist blind politics went beyond propaganda. When socialist activists joined the international blind movement, they initiated an exchange of experiences that profoundly impacted everyone involved. Not only did the international blind movement turn global disability welfare from philanthropy to self-advocacy, but it also gave East European and Soviet activists a new set of ideas and technologies to improve their own national movements. By analyzing the intersection of disability and politics, Ambassadors of Social Progress enables a deeper, bottom-up understanding of cultural relations during the Cold War. Galmarini significantly contributes to the little-studied history of disability in socialist Europe, and ultimately shows that disability activism did not start as an import from the West in the post-1989 period, but rather had a long and meaningful tradition that was rooted in the socialist system of welfare and needed to be reinvented when this system fell apart.
Traits that signal belonging dictate our daily routines, including how we eat, move, and connect to others. In recent years, "fat" has emerged as a shared anchor in defining who belongs and is valued versus who does not and is not. The stigma surrounding weight transcends many social, cultural, political, and economic divides. The concern over body image shapes not only how we see ourselves, but also how we talk, interact, and fit into our social networks, communities, and broader society. Fat in Four Cultures is a co-authored comparative ethnography that reveals the shared struggles and local distinctions of how people across the globe are coping with a bombardment of anti-fat messages. Highlighting important differences in how people experience "being fat," the cases in this book are based on fieldwork by five anthropologists working together simultaneously in four different sites across the globe: Japan, the United States, Paraguay, and Samoa. Through these cases, Fat in Four Cultures considers what insights can be gained through systematic, cross-cultural comparison. Written in an eye-opening and narrative-driven style, with clearly defined and consistently used key terms, this book effectively explores a series of fundamental questions about the present and future of fat and obesity.