The exact properties of the interaction between emotional drives and other psychological phenomena is still a vastly unexplored field. The purpose of this paper will be to examine further the effects of one of these emotional drives, that of fear, on task performance, and to explore some of the theoretical conceptualizations already put forth regarding this interaction.

Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.

This research project is an interdisciplinary investigation of the memory of the 1904-1908 Namibian genocide through its performance representation(s). It lies at the intersection of performance, memory and genocide studies. The research considers the role of performance in remembering, memorialising, commemorating, contesting, transmitting and sustaining the memory of the genocide across time and place. The project frames performance as a media through which history is narrated by positioning performance as a complex interlocutor of the past in the present. This claim is premised on the assumption that the past is not simply given in memory ‘but it must be articulated to become memory’ (Huyssen, 1995:3). The research considers commemoration events and processes as fruitful performance nodes to uncover the past as well as the politics of the present. It makes the case that while the Namibian genocide has so far been denied official or state acknowledgement, it is chiefly through the medium of performance that the genocide memory is remembered, contested and performed. The project offers a variety of perspectives on the relationship between genocide violence, memory and space by focusing on what is remembered, how it is remembered and by paying attention to when it is remembered. The research contributes to an understanding and reconstruction of memory and performance of the Namibian genocide on two fronts. Firstly, as a cultural phenomenon and secondly, as a form of elegy and memorial in contemporary times. These insights contribute to the emerging body of scholarly work on performance and the cultural memory of the Namibian genocide. The project also charts avenues of inquiry in the production and transmission of memory across time and generations, within and beyond Namibian national borders. It pays close attention to performance’s contribution to the formation of cultural memory by exploring the conditions and factors that make remembering in common possible such as language, images, rituals, commemoration practices, exhibitions, theatre and sites of memories. Through examining the specific role of performance as a medium of cultural memory of the Namibian genocide the study considers ‘memory as performing history’ (Shuttleworth et al., 2000:8). The research interrogates how contemporary artistic performance representations and interpretations from within and outside of Namibia inform the way societal history and the present are presented and remembered. Performance becomes an aperture to investigate the enduring contemporary role of the memory of the Namibian genocide as well as its simultaneous reconfiguration. This enables the project to investigate how memories circulate across time and place - transnationally and across generations. This cross-border and transgenerational reflection is essential to understanding how the Namibian genocide has and is articulated, circulated, structured and remembered through performance in the postcolony.

The starting point of this research study began with a broad and unwieldly question - what would Zimbabwe look like if colonisation didn’t happen? This question arose with regard to the launch of the Indigenisation and Economic Empowerment Act (IEEA) in 2007 and is focused of on building an understanding of notions of indigeneity in Zimbabwe through an inquiry of indigenousness and indigenisation. The methodological approach is designed as an interdisciplinary and experimental research inquiry that processes these debates and proposes an expansion of the probabilities of notions of indigeneity within the range of existing socio-political, economic and historical analyses of indigenousness and indigenisation in Zimbabwe. This exploration begins with a broad historical, anthropological and etymological survey of the term 'indigenous’ that is interwoven with a contextual account of Zimbabwe and its socio-political lifespan. The primary site of investigation is the independence-day ceremony that took place at the National Sports Stadium in Harare, Zimbabwe on the 18th of April 2017. This focus is motivated by two distinctive elements at this event - a banner that declares 'ZIMBABWE WILL NEVER BE A COLONY AGAIN’ and a fragment from the president’s speech that asserts, 'we can now call ourselves full masters of our destiny’ (Mugabe 2017). This event stands as a crucial node for the debates and questions this research aims to pose regarding notions of indigenisation, indigenousness and registers of indigeneity. Political and socio-economic analyses of this annual ritual tower above the lacuna of analysis of its performance logics. This performance-specific inquiry aims to contribute new meanings and complexity around the event. The information generated from this reading is further processed through the mechanisms of speculative research as a way to think beyond the dilemmas and paradoxes that emerge from the historical, anthropological and performance analyses of this event. The penultimate chapter of this dissertation suggests a conceptual rehearsal of the findings generated through an expanded understanding of queer theory. The final articulation of 2 this research investigation extends the experimental approach, presenting a set of visual, aural and sculptural elements as the conclusion. The dissertation offers alternate readings of notions of homogeneity and singularity. It is also constituted as a way to understand the probability of building new knowledges through lateral and rhizomic processes as a journey that gathers and synthesizes from across a number of disciplines. The contention of this thesis, then, is to suggest an expansion of the notion of indigeneity towards the possibility of polygeneity, a notion that aims to align with the conceptual constructs of cosmopolitanism (Appiah 2006, Kleingeld and Brown 2014), which engage arguments for expanded understandings of contemporary identity formation. Embodied in this suggestion of polygeneity lies the potential to revive notions of dynamism and creativity that have been dormant since the onset of European colonisation in Zimbabwe. In the wake of the 'new dawn’ in Zimbabwe, in this moment of growing debates for alternatives, the thesis finds its impulse in the imperative for radical and creative shifts in consciousness to activate new ideas, new readings, and new knowledges.

archives@tulane.edu / 1 / Kelly Bond-Osorio

This study introduces into performance discourse the mbokodofication of Black women – that is, the production of the ‘Strong Black Woman' trope, specifically in the South African context. To this end, the study traces the genealogy of the tropes of Black womanhood that have emerged throughout the history of the South African literary canon, analyzing them critically for their varied contributions to the (mis)representations of Black women, both on stage and in the world. Employing the joint methodologies of Practice as Research and African Feminist Autoethnography (which I propose as a variant of Black Feminist Autoethnography specifically contextualized to Black African women), the study unpacks the psychological effects of mbokodofication on Black women performers who, through this phenomenon, become locked into the Sisyphean task of portraying trauma and having this trauma re-inscribed to them through the mimetic style of performance imposed by the dramatic paradigm. The ways in which the dramatic paradigm reproduces coloniality are explored and code-switching is proposed as a potential aesthetic liberator for performers who wish to obfuscate and make visible certain elements of Black womanhood from the violent colonial gaze and thus protect themselves from post-dramatic stress. The study follows the trajectory of my research enquiry and performance practice to explicate the dramaturgical process which brought into being my thesis production, Malibongwe, and, in the end, proposes the work as a post-mbokodoist manifesto.

Quality of life is an important yet often unmeasured variable in assessing places to live. Maintaining and promoting a high quality of life is critical for communities striving to sustain and expand their current economic bases. This study presents a format for measuring quality of life and an adaptation of the importance-performance analytical technique for evaluating results. Using results from a quality of life survey, the study demonstrates how policy implications may be suggested from the analysis.

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Includes bibliographical references. / The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a constructive, ethically directed, philosophical engagement with historical process. The explication thus demonstrates implications of biography, philosophy, history and dramatization in my search for a distinctive performance idiom.