This book examines the enactment of gendered in/equalities across diverse Cultural forms, turning to the insights produced through the specific modes of onto-epistemological enquiry of embodied performance. It builds on work from the GRACE (Gender and Cultures of Equality in Europe) project and offers both theoretical and methodological analyses of an array of activities and artworks. The performative manifestations discussed include theatre, installations, social movements, mega-events, documentaries, and literary texts from multiple geopolitical locales. Engaging with the key concepts of re-enactment and relationality, the contributions explore the ways in which in/equalities are relationally re-produced in and through individual and collective bodies. This multi- and trans-disciplinary collection of essays creates fruitful dialogues within and beyond Performance Studies, sitting at the crossroads of ethnography, event studies, social movements, visual studies, critical discourse analysis, and contemporary approaches to textualities emerging from post-colonial and feminist studies.

This book examines the enactment of gendered in/equalities across diverse Cultural forms, turning to the insights produced through the specific modes of onto-epistemological enquiry of embodied performance. It builds on work from the GRACE (Gender and Cultures of Equality in Europe) project and offers both theoretical and methodological analyses of an array of activities and artworks. The performative manifestations discussed include theatre, installations, social movements, mega-events, documentaries, and literary texts from multiple geopolitical locales. Engaging with the key concepts of re-enactment and relationality, the contributions explore the ways in which in/equalities are relationally re-produced in and through individual and collective bodies. This multi- and trans-disciplinary collection of essays creates fruitful dialogues within and beyond Performance Studies, sitting at the crossroads of ethnography, event studies, social movements, visual studies, critical discourse analysis, and contemporary approaches to textualities emerging from post-colonial and feminist studies.

All major western countries today contain groups that differ in their religious beliefs, customary practices or ideas about the right way in which to live. How should public policy respond to this diversity? In this important new work, Brian Barry challenges the currently orthodox answer and develops a powerful restatement of an egalitarian liberalism for the twenty-first century. Until recently it was assumed without much question that cultural diversity could best be accommodated by leaving cultural minorities free to associate in pursuit of their distinctive ends within the limits imposed by a common framework of laws. This solution is rejected by an influential school of political theorists, among whom some of the best known are William Galston, Will Kymlicka, Bhikhu Parekh, Charles Taylor and Iris Marion Young. According to them, this 'difference-blind' conception of liberal equality fails to deliver either liberty or equal treatment. In its place, they propose that the state should 'recognize' group identities, by granting groups exemptions from certain laws, publicly 'affirming' their value, and by providing them with special privileges or subsidies. In Culture and Equality, Barry offers an incisive critique of these arguments and suggests that theorists of multiculturism tend to misdiagnose the problems of minority groups. Often, these are not rooted in culture, and multiculturalist policies may actually stand in the way of universalistic measures that would be genuinely beneficial.

This volume explores the processes of investigating cultures of equality and sets out an epistemological framework for generating a more just and response-able knowledge. It offers a tapestry of inventive, self-reflexive, collective, and situated praxis of conducting politically informed research. Such efforts contest—or occasionally reinvent—the social and cultural worlds that we currently inhabit, in an attempt at building cultures of equality across different locations and contexts. The book engages with the idea of producing knowledge with others, indicating the political potential of scientific practice and offering a view of knowledge as a collective affective-intellectual effort. It provides an inventory of creative engagements with concepts and methodologies enabling production of socially responsible knowledges. By critically exploring new possibilities of scientific inquiry, the contributors reflect on how knowledge can be generated to serve the political agenda of movements for equality and social justice. The chapters also elucidate different conceptualisations of and approaches to who the researcher is and how they interact with cultural and social worlds.

This book provides a timely intervention in the fields of performance studies and theatre history, and to larger issues of global cultural exchange. The authors offer a provocative argument for rethinking the scholarly assessment of how diverse performative cultures interact, how they are interwoven, and how they are dependent upon each other. While the term ‘intercultural theatre’ as a concept points back to postcolonialism and its contradictions, The Politics of Interweaving Performance Cultures explores global developments in the performing arts that cannot adequately be explained and understood using postcolonial theory. The authors challenge the dichotomy ‘the West and the rest’ – where Western cultures are ‘universal’ and non-Western cultures are ‘particular’ – as well as ideas of national culture and cultural ownership. This volume uses international case studies to explore the politics of globalization, looking at new paternalistic forms of exchange and the new inequalities emerging from it. These case studies are guided by the principle that processes of interweaving performance cultures are, in fact, political processes. The authors explore the inextricability of the aesthetic and the political, whereby aesthetics cannot be perceived as opposite to the political; rather, the aesthetic is the political. Helen Gilbert’s essay ‘Let the Games Begin: Pageants, Protests, Indigeneity (1968–2010)’won the 2015 Marlis Thiersch Prize for best essay from the Australasian Drama, Theatre and Performance Studies Association.

This book explores the intersection between apophaticism - negative theology - and performance. While apophaticism in literature and critical theory may have had its heyday in the heady debates about negative theology and deconstruction in the 1990s, negative ways of knowing and speaking have continued to structure conversations in theatre and performance studies around issues of embodiment, the non- and post-human, objects, archives, the ethics of otherness in intercultural research, and the unreadable and inaccessible in the work of minority artists. A great part of the history of apophaticism lies in mystic literature. With the rise of the New Age movement, which claimed historical mysticism as part of its genealogy, apophaticism has often been sidelined as spirituality rather than serious study. This book argues that the apophatic continues to exert a strong influence on the discourse and culture of Western literature and especially performance, and that by reassessing this ancient form of negative epistemology, artists, scholars, students, and teachers alike can more deeply engage forms of unknowing through what cannot be said and cannot be represented in language, on the stage, and in every aspect of social life.

Performed Culture in Chinese Language Education: A Culture-Based Approach for U.S. Collegiate Contexts elaborates on a cultural awareness-oriented, cultural performance-based, and cross-cultural communication-focused foreign language pedagogical paradigm—Performed Culture Approach — in the context of U.S. collegiate Chinese language education. Guangyan Chen draws on the data collected through questionnaires, comparisons between this pedagogy and mainstream pedagogical frameworks, and analyses of curricular development, lesson plans, and classroom discourses. Chen promotes the performed culture approach by delineating the theoretical framework of this pedagogy, reporting studies that empirically support cultural primacy in Chinese language education, and illustrating this pedagogy through analyses of a curricular structure, a lesson plan, and classroom discourses. Chen shows how this pedagogy addresses the gaps between the social need for global citizens and the insufficient integration of culture into foreign language education. The performed culture approach also addresses the overall drop in U.S. collegiate foreign language enrollment as this pedagogy connects foreign language programs to university missions and social needs.