大学去监禁化:圆桌讨论

IF 0.8 3区 艺术学 0 THEATER
Courtney Erin Colligan, Aaron Moore Ellis, Nicholas Fesette, Donatella Galella, Megan E. Geigner, Lindsay Livingston, Ariel Nereson, Leticia L. Ridley, Misty Saribal
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Ridley (bio), and Misty Saribal (bio) </li> </ul> <p>This roundtable discussion took place on Zoom on June 6, 2024, and grew out of the learning that I have experienced through the collective work of the voices assembled here: through various gatherings and actions, often at the Association for Theatre in Higher Education (ATHE) conference, this group of scholar-artist-activists has pushed our field to directly engage with the concerns of abolition and decarceration. Their <u>Zine</u>, included in this issue's Online Section, offers theatre, dance, and performance studies direct actions as well as philosophical inspiration for decarcerating our campuses, classrooms, and studios, and relations with one another and our own minds. I encourage readers to consult the <u>Zine</u> in their research, teaching, and community engagement efforts toward abolition. This roundtable is a way for those conversations to continue and to respond to ongoing crises and current world affairs. —Ariel Nereson, <em>Theatre Journal</em> coeditor</p> Misty Saribal (MS): <p>Our first question is, how can performance studies contribute to what contemporary abolition elders are calling for, which is the abolition of campus police and any ties to the prison industrial complex? I'm thinking about Davarian Baldwin when he talks about how higher ed campuses should be ground zero for police abolition, in part, he argues, because some campuses have the newest police departments, and some of them still do not [have police departments].<sup>1</sup> However, we're presently seeing, with the campus Palestinian BDS solidarity demonstrations and encampments, the unfinished but necessary Cops Off Campus movement, which is a great group that I have been involved with. And when I see [list(s) like] Eight Actions to Grow Abolition,<sup>2</sup> I always want to add to the list—make friends with people in the arts and theatre departments! We have great props, we know how to stage protests, direct chants, perform and communicate in live, spectacular, and impactful ways.</p> <p>I want to start with an example of how performance and theatre contribute meaningfully to these abolition movements in material ways, to ponder how our skills might help with campus abolition movements. To get to my example, we did a disorientation <strong>[End Page E-1]</strong> tour on Louisiana State University's campus before the pandemic, and we happened to just randomly find in the prop closet a giant black wooden coffin that said, \"RIP Education.\" And I decided everyone on the tour should carry this giant coffin around while we viewed areas of the campus connected with slavery, military, sexism, heterosexism, racism, ableism, and capitalist exploitation. The resulting spectacle and disruption to the campus status quo was something that I'm pretty sure wouldn't have happened if the disorientation tour had been led by the American studies, philosophy, or biology departments. So you could take that in many different ways, but I want to open that because sometimes within \"traditional organizing,\" there is a bias toward antitheatrical methods, and that's a damn shame.</p> Ariel Nereson (AN): <p>The language you were using to share this with us makes me think of antitheatrical prejudice, but also the current traffic of \"performative,\" and what that means as something that indicates a <em>lack</em> of genuine investment in something, which is the opposite, of course, of what a lot of campus organizing is trying to indicate. And I know that Meredith Conti has written about the critique of high school students responding to gun violence, and being called crisis actors, so I think that language is so important, and that we know how to use it.<sup>3</sup> I appreciate your bringing that forward.</p> Leticia Ridley (LR): <p>I think that if we look at the legacy of protest specifically in the United States, I think of something like the Black Panther Party and how they wore a specific costume to the protest, that the gun was a prop and also a tool, but sort of thinking about how the language of theatre has always been integrating with protests in these movements and about how we can usher...</p> </p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"160 1","pages":""},"PeriodicalIF":0.8000,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Decarcerating the University: A Roundtable Discussion\",\"authors\":\"Courtney Erin Colligan, Aaron Moore Ellis, Nicholas Fesette, Donatella Galella, Megan E. 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Ridley (bio), and Misty Saribal (bio) </li> </ul> <p>This roundtable discussion took place on Zoom on June 6, 2024, and grew out of the learning that I have experienced through the collective work of the voices assembled here: through various gatherings and actions, often at the Association for Theatre in Higher Education (ATHE) conference, this group of scholar-artist-activists has pushed our field to directly engage with the concerns of abolition and decarceration. Their <u>Zine</u>, included in this issue's Online Section, offers theatre, dance, and performance studies direct actions as well as philosophical inspiration for decarcerating our campuses, classrooms, and studios, and relations with one another and our own minds. I encourage readers to consult the <u>Zine</u> in their research, teaching, and community engagement efforts toward abolition. 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引用次数: 0

摘要

以下是内容的简要摘录,以代替摘要: 解禁大学:圆桌讨论 Courtney Erin Colligan(简历)、Aaron Moore Ellis(简历)、Nicholas Fesette(简历)、Donatella Galella(简历)、Megan E. Geigner(简历)、Lindsay Livingston(简历)、Ariel Nereson、Leticia L. Ridley(简历)和 Misty Saribal(简历)。这次圆桌讨论于 2024 年 6 月 6 日在 Zoom 上举行,是我从在座各位的集体工作中学习到的。通过各种聚会和行动,通常是在高等教育戏剧协会(ATHE)会议上,这群学者-艺术家-活动家推动了我们的领域直接参与废除死刑和非监禁的关注。他们的 Zine 刊载于本期的在线版块,为戏剧、舞蹈和表演研究提供了直接行动以及哲学启发,使我们的校园、教室、工作室以及人与人之间的关系和我们自己的思想去监禁化。我鼓励读者在研究、教学和社区参与中参考《Zine》,努力废除监禁。本圆桌会议是继续这些对话的一种方式,也是对当前危机和世界事务做出回应的一种方式。阿里尔-内里森(Ariel Nereson),《戏剧杂志》联合编辑 米斯蒂-萨里巴尔(Misty Saribal)(以下简称 MS):我们的第一个问题是,表演研究如何为当代废除死刑的长老们所呼吁的废除校园警察以及与监狱工业综合体的任何联系做出贡献?我想到了达瓦里安-鲍德温(Davarian Baldwin),他谈到高等教育校园应该是废除警察的原点,他认为,部分原因是有些校园拥有最新的警察部门,而有些校园仍然没有[警察部门]1。然而,我们目前看到的是,随着校园巴勒斯坦BDS声援示威和营地的建立,未完成但必要的 "警察离开校园 "运动,这是一个伟大的团体,我一直参与其中。当我看到[发展废奴的八项行动2]这样的清单时,我总想在清单上再加一条--与艺术和戏剧系的人交朋友!我们有很好的道具,我们知道如何以现场、壮观和有影响力的方式举行抗议、指挥诵经、表演和交流。我想先举例说明表演和戏剧如何以物质方式为这些废奴运动做出有意义的贡献,并思考我们的技能可以如何帮助校园废奴运动。说到我的例子,在大流行病发生之前,我们在路易斯安那州立大学的校园里做了一次迷失方向 [End Page E-1]的巡演,我们碰巧在道具柜里发现了一个巨大的黑色木棺,上面写着 "RIP Education"。我决定,当我们参观校园中与奴隶制、军事、性别歧视、异性恋、种族主义、残障主义和资本主义剥削有关的区域时,参观团的每个人都应该抬着这个巨型棺材四处走动。我敢肯定,如果这次迷失之旅的负责人是美国研究系、哲学系或生物系,就不会有这样的奇观和对校园现状的破坏。所以,你可以从很多不同的角度来看待这个问题,但我想把这个问题提出来,因为有时在 "传统组织 "中,对反戏剧性的方法存在偏见,这是非常遗憾的。Ariel Nereson (AN):你在与我们分享时使用的语言让我想到了反戏剧化的偏见,也让我想到了当前 "表演性"(performative)的流传,以及它作为一种缺乏真正投入的东西的含义,当然,这与很多校园组织活动所要表达的意思恰恰相反。我知道梅雷迪思-孔蒂(Meredith Conti)曾写过一篇关于高中生应对枪支暴力的批评文章,并称之为危机行动者,所以我认为这种语言非常重要,我们要知道如何使用它。莱蒂西亚-雷德利(Leticia Ridley):我认为,如果我们具体看一下美国的抗议传统,我就会想到黑豹党之类的组织,想到他们是如何穿着特定的服装参加抗议活动的,想到枪既是道具也是工具,但也会想到戏剧语言是如何一直与这些运动中的抗议结合在一起的,想到我们如何才能迎来......
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Decarcerating the University: A Roundtable Discussion
In lieu of an abstract, here is a brief excerpt of the content:

  • Decarcerating the University:A Roundtable Discussion
  • Courtney Erin Colligan (bio), Aaron Moore Ellis (bio), Nicholas Fesette (bio), Donatella Galella (bio), Megan E. Geigner (bio), Lindsay Livingston (bio), Ariel Nereson, Leticia L. Ridley (bio), and Misty Saribal (bio)

This roundtable discussion took place on Zoom on June 6, 2024, and grew out of the learning that I have experienced through the collective work of the voices assembled here: through various gatherings and actions, often at the Association for Theatre in Higher Education (ATHE) conference, this group of scholar-artist-activists has pushed our field to directly engage with the concerns of abolition and decarceration. Their Zine, included in this issue's Online Section, offers theatre, dance, and performance studies direct actions as well as philosophical inspiration for decarcerating our campuses, classrooms, and studios, and relations with one another and our own minds. I encourage readers to consult the Zine in their research, teaching, and community engagement efforts toward abolition. This roundtable is a way for those conversations to continue and to respond to ongoing crises and current world affairs. —Ariel Nereson, Theatre Journal coeditor

Misty Saribal (MS):

Our first question is, how can performance studies contribute to what contemporary abolition elders are calling for, which is the abolition of campus police and any ties to the prison industrial complex? I'm thinking about Davarian Baldwin when he talks about how higher ed campuses should be ground zero for police abolition, in part, he argues, because some campuses have the newest police departments, and some of them still do not [have police departments].1 However, we're presently seeing, with the campus Palestinian BDS solidarity demonstrations and encampments, the unfinished but necessary Cops Off Campus movement, which is a great group that I have been involved with. And when I see [list(s) like] Eight Actions to Grow Abolition,2 I always want to add to the list—make friends with people in the arts and theatre departments! We have great props, we know how to stage protests, direct chants, perform and communicate in live, spectacular, and impactful ways.

I want to start with an example of how performance and theatre contribute meaningfully to these abolition movements in material ways, to ponder how our skills might help with campus abolition movements. To get to my example, we did a disorientation [End Page E-1] tour on Louisiana State University's campus before the pandemic, and we happened to just randomly find in the prop closet a giant black wooden coffin that said, "RIP Education." And I decided everyone on the tour should carry this giant coffin around while we viewed areas of the campus connected with slavery, military, sexism, heterosexism, racism, ableism, and capitalist exploitation. The resulting spectacle and disruption to the campus status quo was something that I'm pretty sure wouldn't have happened if the disorientation tour had been led by the American studies, philosophy, or biology departments. So you could take that in many different ways, but I want to open that because sometimes within "traditional organizing," there is a bias toward antitheatrical methods, and that's a damn shame.

Ariel Nereson (AN):

The language you were using to share this with us makes me think of antitheatrical prejudice, but also the current traffic of "performative," and what that means as something that indicates a lack of genuine investment in something, which is the opposite, of course, of what a lot of campus organizing is trying to indicate. And I know that Meredith Conti has written about the critique of high school students responding to gun violence, and being called crisis actors, so I think that language is so important, and that we know how to use it.3 I appreciate your bringing that forward.

Leticia Ridley (LR):

I think that if we look at the legacy of protest specifically in the United States, I think of something like the Black Panther Party and how they wore a specific costume to the protest, that the gun was a prop and also a tool, but sort of thinking about how the language of theatre has always been integrating with protests in these movements and about how we can usher...

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来源期刊
THEATRE JOURNAL
THEATRE JOURNAL THEATER-
CiteScore
0.40
自引率
40.00%
发文量
87
期刊介绍: For over five decades, Theatre Journal"s broad array of scholarly articles and reviews has earned it an international reputation as one of the most authoritative and useful publications of theatre studies available today. Drawing contributions from noted practitioners and scholars, Theatre Journal features social and historical studies, production reviews, and theoretical inquiries that analyze dramatic texts and production.
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