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This book explores the use of creative practices, in particular, theatre, as a platform for enabling new research methodologies and spaces in which to practice politics. It offers insights into the use of theatre as a medium to disseminate research to the wider public and extend the terrain of political debate in productive ways. The book explores debates within transnational feminism and transnational justice to offer new perspectives on affect and performance. It also engages with theory on the liveliness of material objects as actors in networks of knowledge production. In particular, the book provides an insight into the travels of a performance script through national and transnational space, as an opportunity to consider a public debate across nations that have intertwined histories and spatialities on the issues of care and need.
This book follows the travels of Nanay, a testimonial theatre play developed from research with migrant domestic workers in Canada, as it was recreated and restaged in different places around the globe. This work examines how Canadian migration policy is embedded across and within histories of colonialism in the Philippines and settler colonialism in Canada. Translations between scholarship and performance – and between Canada and the Philippines – became more uneasy as the play travelled internationally, raising pressing questions of how decolonial collaborations might take shape in practice. This book examines the strengths and limits of existing framings of Filipina migration and offers rich ideas of how care – the care of children and elderly and each other – might be rethought in radically new ways within less violently unequal relations that span different colonial histories and complex triangulations of racialised migrants, settlers and Indigenous peoples. This book is a journey towards a new way of doing and performing research and theory. It is part of a growing interdisciplinary exchange between the performing arts and social sciences and will appeal to researchers and students within human geography and performance studies, and those working on migration, colonialisms, documentary theatre and social reproduction.
This book is an interdisciplinary collection of essays that delves beneath the media headlines about the “migration crisis”, Brexit, Trump and similar events and spectacles that have been linked to the intensification and proliferation of stereotypes about migrants since 2015. Topics include the representations of migration and stereotypes in citizenship ceremonies and culinary traditions, law and literature, and public history and performance. Bringing together academics in the arts, humanities and social sciences, as well as artists and theatre practitioners, the collection equips readers with new methodologies, keywords and collaborative research tools to support critical inquiry and public-facing research in fields such as Theatre and Performance Studies, Cultural and Migration Studies, and Applied Theatre and History.
Deals with the two great migration waves: from 1820 to the outbreak of World War I, when immigration was nearly unrestricted; since 1950, when mass migration continued to grow despite policy restrictions. Covers north-north and south-north migration, i.e. to the New World and contemporary Europe, as well as south-south migration. Assesses the impact on the migrants themselves, and repercussions on the sending and receiving countries.
This book investigates Ireland’s translation of interculturalism as social policy into aesthetic practice and situates the wider implications of this ‘new interculturalism’ for theatre and performance studies at large. Offering the first full-length, post-1990s study of the effect of large-scale immigration and interculturalism as social policy on Irish theatre and performance, McIvor argues that inward-migration changes most of what can be assumed about Irish theatre and performance and its relationship to national identity. By using case studies that include theatre, dance, photography, and activist actions, this book works through major debates over aesthetic interculturalism in theatre and performance studies post-1970s and analyses Irish social interculturalism in a contemporary European social and cultural policy context. Drawing together the work of professional and community practitioners who frequently identify as both artists and activists, Migration and Performance in Contemporary Ireland proposes a new paradigm for the study of Irish theatre and performance while contributing to the wider investigation of migration and performance.
Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre examines the function of dramaturgy and the role of the dramaturg in making a theatre performance situated at the crossroads of multiple theatre forms and performative devices. This book explores how these forms and devices are employed, challenged, experimented with, and reflected upon in the work of migrant theatre by performance and dance artists. Meerzon and Pewny ask: What impact do peoples’ movement between continents, countries, cultures, and languages have on the process of meaning production in plays about migration created by migrant artists? What dramaturgical devices do migrant artists employ when they work in the context of multilingual production, with the texts written in many languages, and when staging performances that target multicultural and multilingual theatregoers? And, finally, how do the new multilingual practices of theatre writing and performance meet and transform the existing practices of postdramatic dramaturgies? By considering these questions in a global context, the editors explore the overlapping complexities of migratory performances with both range and depth. Ideal for scholars, students, and practitioners of theatre, dramaturgy, and devising, Dramaturgy of Migration expresses not only the practicalities of migratory performances but also the emotional responses of the artists who stage them.
This book concentrates on the role of commercialized intermediary actors in migration. It seeks to understand how these actors shape migration and mobility patterns through the services they offer. In addressing the role that migration industries play in migration, the book uses diverse examples such as labour market brokers and recruitment agencies from Eastern Europe to the United Kingdom; Latvian migration to Norway; super-rich lifestyle brokers; international students agents; the Global Mobility Industry for corporate expatriates; skilled migrant intermediaries; and those providing services to West African migrants coming to Europe or Indonesians leaving for Malaysia. Through these examples, the contributors examine the actors in migration industries, showing how they respond to and shape migration trends. They also consider how migration industries operate, manoeuvre and interact with government policy on migration management. Finally, the book looks at how migration industries enable certain forms of migration through enticement, facilitation and control, translating into specific migration trajectories and im/mobility. Providing examples from across the world, this book analyses how charities, businesses, sub-contractors, informal recruitment agencies, and other actors help to shape migration processes, and it will be of interest to those studying not only the causes of migration, but also the migration process itself. This book was originally published as a special issue of the Journal of Ethnic and Migration Studies.
Includes statistical tables.
This book questions the reliance on melodrama and spectacle in social performances and cultural productions by and about migrants from Mexico and Central America to the United States. Focusing on archetypal characters with nineteenth-century roots that recur in the twentieth- and twenty-first centuries – heroic saviors, saintly mothers and struggling fathers, martyred children and rebellious youth – it shows how theater practitioners, filmmakers, visual artists, advocates, activists, journalists, and others who want to help migrants often create migrant melodramas, performances that depict their heroes as virtuous victims at the mercy of evil villains. In order to gain respect for the human rights that are supposedly already theirs on paper and participate in a global market that trades in performances of suffering, migrants themselves sometimes accept the roles into which they are cast, or even cast themselves. Some express their suffering publicly, often on demand. Others find ways to twist, parody, resist, or reject migrant melodrama.
Drawing on data from the PISA 2003 survey, this report examines the performance of students with immigrant backgrounds and compares it to that of their native counterparts.