PERFORMATIVITY, SENSOGRAPHY AND MUSIC: LEARNING AND TEACHING THE ‘OTHER’ HOLOCAUST AT A JEWISH INN

V. Kravva
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Abstract

The article reflects on my teaching experiences and the increased difficulty of teaching notions such as biopolitics and death politics to anthropology students. Such notions sound quite abstract and difficult to grasp. Nevertheless, they are essential in understanding the Holocaust, the Nazis’ mass production of death and the control of the human body and mind by this fascist-bureaucratic regime. Presenting the Shoah to anthropology students via lectures seems quite partial; apart from describing it from a macro-perspective, it would be more enlightening to introduce students to the sensual and bodily aspects of the topic. Thus, it would be easier to approach notions such as affect/affectivity and embodiment that lie at the centre of contemporary anthropological thinking. The anthropology of performance, theatre and drama could provide the anthropologist with experimental methods of teaching and learning and could be used as loci of reflection and critique. Such a performance may have a more significant impact on academic and non-academic audiences. Benssoussan Han, an old Jewish inn at the centre of Thessaloniki built at the end of the 19th century, seems the ideal place to combine learning and teaching through performance. Several experimental performances have taken place there in recent years. After presenting some of them, I will briefly discuss a teaching scenario, a performative experiment in progress. The proposed pedagogical scenario deals with dystopic memories emotional and sensual silences. It is an attempt to understand the “other” Holocaust, unquestionably the less studied aspects of this regime, including the music produced in the Terezin camp, and to reflect on notions of biopolitics and death politics. The project will be a joint one: bodies, movement, music, logos and a video projection about life in Terezin. As Dorita Hannah and others argue, it might prove an opportunity to 'make space speak' and for the audience to reflect and interact.  
表演、感测术和音乐:在一家犹太旅馆学习和教授“他者”大屠杀
本文反思了我的教学经验,以及对人类学学生讲授生命政治、死亡政治等概念的难度增加。这些概念听起来很抽象,很难理解。然而,它们对于理解大屠杀、纳粹大规模制造死亡以及法西斯官僚政权对人类身心的控制至关重要。通过讲座向人类学学生展示大屠杀似乎相当片面;除了从宏观的角度来描述它,向学生介绍这个话题的感官和身体方面会更有启发性。因此,它将更容易接近的概念,如影响/情感和体现,是当代人类学思想的中心。表演、戏剧和戏剧人类学可以为人类学家提供教学和学习的实验方法,并可以作为反思和批判的场所。这样的表演可能会对学术和非学术观众产生更大的影响。Benssoussan Han是塞萨洛尼基市中心的一家古老的犹太旅馆,建于19世纪末,似乎是通过表演将学习和教学结合起来的理想场所。近年来在那里进行了几次实验表演。在介绍了其中的一些之后,我将简要地讨论一个教学场景,一个正在进行的行为实验。提出的教学场景涉及反乌托邦记忆,情感和感官沉默。它试图理解“其他”大屠杀,毫无疑问是该政权较少研究的方面,包括在特雷津集中营制作的音乐,并反思生命政治和死亡政治的概念。这个项目将是一个联合项目:身体、运动、音乐、标志和一个关于特雷津生活的视频投影。正如多丽塔·汉娜(Dorita Hannah)和其他人所说,这可能是一个“让空间说话”、让观众反思和互动的机会。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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