This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay. In terms of locality, the practice, comprising eight performance-led works and related documentation, focuses on the China Clay and Ball Clay of South West England. Traditionally in the arts, these materials are associated with ceramics, where through heating, clay becomes rigid and fixed. In contrast, my research investigates the textural fluidity and metamorphic potential of these clays in their raw state. The practice encompasses two interrelated groups of work; the In-breath and Out-breath. These terms are significant in three respects. Firstly they define two different modes and moments of practice. Secondly they refer to myself as a living component of these practices. Thirdly they reflect the cultural associations of clay as a metaphor for life. During the initial exploratory ‘In-breath’ phase of my practice, comprising four site-specific pieces, I engaged with clay at sites of historical relevance, building an expansive knowledge of my material. During the later ‘Out-breath’ phase, identification with site was relinquished. These works took place within neutral spaces, allowing the clay to be explored in relation to my body. The introduction of layering, where photographic elements of private clay rituals were situated within the context of a live performance, allowed a texturally dynamic and immersive experience to be created for both artist and viewer. By collecting and preserving clay traces from these live performances (e.g. foot and body prints) additional value was given to the embedded significance of the clay.

La présente recherche a pour but d’étudier le rôle du temps dans les expériences artistique et esthétique relatives à la performance artistique. Cette étude porte sur les œuvres et les pratiques de la performance du XXe et du début du XXIe siècles, allant des premières manifestations publiques des avant-gardes historiques jusqu’à la performance augmentée par l’intégration des nouvelles technologies de l’enregistrement, de l’information et de la communication. Partant de l’hypothèse de l’efficience du composant temporel de la performance, il s’agit tout d’abord de démontrer que la structure temporelle de la performance fait l’objet d’une élaboration artistique réfléchie et que le temps peut être considérée comme « matériau » ou « milieu » de l’œuvre-performance. Les analyses de la dimension temporelle des œuvres particulières révèlent également son pouvoir d’agir sur le vécu de tous les protagonistes réunis au sein de la performance-événement et sa capacité de les impliquer à différents degrés dans le processus de la concrétisation de l’œuvre-performance. Ces différentes fonctions du temps, son « activité » et son mode opératoire sont analysés au cours de cette recherche en tant qu’ « agentivité du temps dans la performance ». À l’issue de ces investigations, le temps apparaît comme l’un des facteurs ontogénétiques de l’œuvre-performance fondant sa spécificité, et comme l’une de ses qualités intrinsèques susceptible de déterminer les conduites artistique et esthétique de l’artiste et du spectateur, au point de les rendre interchangeables. / The objective of the present research is to investigate the role of time in artistic and aesthetic experiences pertaining to performance art. This paper focuses on the performance works and practices of the 20th and early 21st centuries, ranging from the first public performances of historical avant-garde movements to the performance augmented through the use of the latest recording, information processing and communication technologies. Starting with the hypothesis of the efficiency of a performance’s temporal component, we first demonstrate that the temporal structure of a performance is the matter of well-thought-out artistic design, and that time can be regarded as the medium, or “milieu” of a performance work. Moreover, analyses of the temporal dimension of individual performance works reveal how time can affect the real-life experience of all the protagonists taking part in the performance-event, involving them, to varying degrees, in the process through which the performance comes into being as a work of art. These multiple functions of time, its “activity” and modus operandi are discussed throughout this study as “agency of time in performance”. The research shows that time turns out to be one of the ontogenetic, specificity-conferring factors of a performance work, and also one of its intrinsic qualities which is likely to determine the artist’s and spectator’s artistic and aesthetic attitudes to such an extent that they become interchangeable.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-04T19:00:48Z No. of bitstreams: 1 Tese_Carol_Final.pdf: 47811162 bytes, checksum: 520d62c56e8a9cfc2b8f55ae1626b8d6 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:20:33Z (GMT) No. of bitstreams: 1 Tese_Carol_Final.pdf: 47811162 bytes, checksum: 520d62c56e8a9cfc2b8f55ae1626b8d6 (MD5) / Made available in DSpace on 2018-09-11T13:20:33Z (GMT). No. of bitstreams: 1 Tese_Carol_Final.pdf: 47811162 bytes, checksum: 520d62c56e8a9cfc2b8f55ae1626b8d6 (MD5) / Este trabalho expõe reflexões elaboradas a partir de seis performances que foram experimentadas em espaços específicos da cidade de Salvador — conjunto de logradouros urbanos rotulados por mim como “Soteropolicity”. As ações artísticas realizadas trouxeram releituras de outras obras como também desenvolveram questões sobre o contexto em análise, conjugando criação prática com verificação teórica e procurando consolidar apreensões por meio de um exercício de escrita performativa. Esse interesse, em tornar visível as problemáticas urbanas por meio da performance, me levou a campos externos à minha primeira formação, Arquitetura e Urbanismo, para reconstruir, na fronteira, críticas transformadoras e propulsoras de outras formas de análise, síntese e expressão. Diante disso, combino sensações com percepções em contextos produtivos — espaços públicos de Salvador — para realizar outros sentidos. Iniciei esse exercício com a efetivação de seis performances, a saber: Já está limpo!, Jardins da Babilônia, Na aba do meu chapéu, Playground na Ladeira da Montanha, O mar pela greta e A saúde é osso, para, então, dialogar, prioritariamente, com os autores Agamben, Rolnik, Foucault, Benjamin, Clifford, Carlson, Deleuze e Guattari. Por essa trajetória de fazer-sentir-e-pensar, eu simulei problemas de gestão urbana, formalizei artifícios de percepção e compreensão das vivências realizadas e criei outras possibilidades de expressão e análise sobre a complexidade das cidades contemporâneas. Para tanto, intrometi-me na paisagem soteropolitana e colei sujeito e objeto na minha condição de pesquisadora para reapresentar ao cidadão comum a cidade onde vive e confrontar o citadino consigo mesmo na condição de coletivo. / This work presents reflections drawn from six performances that were experienced in specific areas of the city of Salvador - set of urban thoroughfares labeled by me as "Soteropolicity". The actions undertaken brought artistic reinterpretations of other works but also developped questions about the context, combining practical creation with theoretical verification and seeking to consolidate seizures through an exercise of performative writing. This interest, in turning urban problems visible through the performance, took me to external fields of my first studies, Architecture and Urbanism, to rebuild, on the border, transformative and propellant critics of other forms of analysis, synthesis and expression. Therefore, I combine sensations with perceptions in productive contexts - public spaces in Salvador - to do other senses. I started this exercise with the execution of six performances, namely: Já está limpo!, Jardins da Babilônia, Na aba do meu chapéu, Playground na Ladeira da Montanha, O mar pela greta e A saúde é osso, to then discuss, primarily, with the authors: Agamben, Rolnik, Foucault, Benjamin, Clifford, Carlson, Deleuze and Guattari. Through this trajectory, to-do-tofeel- and-to-think, I simulated problems of urban management, I formalized tricks of perception and understanding of the experiences made and I created other opportunities for expression and analysis of the complexity of contemporary cities. Therefore, I butted me in the landscape of Salvador and I pasted subject and object in my condition of researcher to restate the common citizen the city where he lives and to confront the townsman with himself in the condition of the collective.

Made available in DSpace on 2014-12-17T14:00:20Z (GMT). No. of bitstreams: 1 AndreLRB_DISSERT.pdf: 5706634 bytes, checksum: 705650c60de39314fa9e4412b2e6860d (MD5) Previous issue date: 2014-03-14 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This dissertation aims to look into the structure of the event Circuito Regional de Performance BodeArte1 to think how it collaborate with its proposal providing theoretical points to relevant questions to the comprehension of Brazilian performance art in contemporaneity, since its conceptual format until its occurrence and practical limitations. From this proposition the dissertation is organized into three chapters guided for the following aspects: the resumption of the events encompassed on the occurrence of Circuit BodeArte as well as a tabulation of the data reunited in its history, the presentation of its conceptual choices, and the metaphors conducted by the use of the term performance and how they can lead us to the idea of a performance-as-BodeArte. The methodological structures moved for this organization are qualitative, and have been formed from printed materials, texts, festival programs, blog, videos, photos, interviews, lectures and forums, plus our own memory as a producer and performer of the event, looking through these set points of the epistemological organization contained on the proposal of the Circuito, expanding and discussing them. This way this research moves between the propositions of this event in its three editions, promoting discussions that dialogue with concepts such as the emergence of Steve Johnson (2004), the metaphors of thought proposed by Christine Greiner (2005), the idea of performance hacker of Maria Beatriz de Medeiros (AQUINO, et al., 2012), as well as other propositions presented by Jan Swidzinski (2005) and Eleonora Fabi?o (2012) / Esta disserta??o tem por objetivo voltar-se ? estrutura do evento Circuito Regional de Performance BodeArte, para pensar, desde seu formato conceitual at? seu acontecimento e limita??es pr?ticas, como ele em sua proposta aponta quest?es relevantes para a compreens?o da performance brasileira na contemporaneidade. A partir desta proposi??o, a disserta??o organiza-se em tr?s cap?tulos pautados nos seguintes aspectos: a retomada dos acontecimentos e dados reunidos na ocorr?ncia do Circuito BodeArte, a apresenta??o de suas escolhas conceituais, e as met?foras conduzidas pelo uso do termo performance e como elas podem nos conduzir a ideia de uma performance-como-BodeArte. As estruturas metodol?gicas para tanto s?o de car?ter qualitativo, e tomam como base materiais impressos, textos, programas, blog, v?deos, fotografias, entrevistas, palestras e f?runs, al?m de nossa pr?pria mem?ria como produtor e performer do evento, procurando atrav?s destes estabelecer pontos de organiza??o epistemol?gica da proposta do Circuito, ampliando-os e discutindo-os. Deste modo esta pesquisa desloca-se pelas proposi??es do evento em suas tr?s edi??es, promovendo discuss?es que interpelam e dialogam com conceitos como a emerg?ncia de Steve Johnson (2004), as met?foras do pensamento de Christine Greiner, a ideia de performance hacker de Maria Beatriz de Medeiros (AQUINO, et al., 2012), assim como outras proposi??es lan?adas por Jan Swidzinski (2005) e Eleonora Fabi?o (2012)

The purpose with this essay is to examine how arts and politics integrate to raise urgent messages and call upon social changes. Performance art as an artistic manifestation against the surveillance society has been studied to clarify this integration and through an empirical examination of the anarchistic performance group The Surveillance Camera Players. This group formed in New York City 1996 as a manifestation against the increased use of surveillance cameras in public places in Manhattan. Through performance in front of these cameras, The Surveillance Camera Players are able to express their protest against the surveillance society which, occurring to them, violates citizens constitutionally right to privacy. The development and signification of the surveillance society are examined through theoretical perspective by foremost Michel Foucault, but also by contemporary scientist in that field. Theories about political art have been studied for the understanding of the work of The Surveillance Camera Players. / Uppsatsens syfte är att undersöka hur konst och politik integreras i syfte att föra fram ett budskap och på så sätt försöka påverka till samhällsförändringar. För att tydliggöra detta studeras performancekonst som ett konstnärligt motstånd mot övervakningssamhället och detta exemplifieras genom en empirisk undersökning av den anarkistiska teatergruppen The Surveillance Camera Players, SCP. Denna grupp bildades i New York City 1996, som en manifestation mot det ökande användandet av övervakningskameror på offentliga platser på Manhattan. Genom performance, framför dessa kameror, ger SCP uttryck för sitt motstånd mot övervakningssamhället, som enligt dem, kränker medborgarnas konstitutionella rätt till privatliv. I uppsatsen studeras övervakningssamhällets utveckling och betydelse genom ett teoretiskt perspektiv av framförallt Michel Foucault och även samtida forskare inom området. För förståelsen av The Surveillance Camera Players verksamhet studeras teorier kring politiskt medveten konst.