Matching Items (8)
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- All Subjects: Performance
- Creators: Underiner, Tamara
Description
The Holocaust and the effects it has had upon witnesses has been a topic of study for nearly six decades; however, few angles of research have been conducted relating to the long-term effects of the Holocaust upon the children and grandchildren of Holocaust survivors--the After Generations. The After Generations are considered the proof--the living legacies--that their parents and grandparents survived. Growing up with intimate knowledge of the atrocities that occurred during the Holocaust, members of the After Generations not only carry with them their family's story, but also their own vicarious experience(s) of trauma. From this legacy comes a burden of responsibility to those who perished, their survivor parents/grandparents, the stories that were shared, as well as to future generations. Using grounded theory method, this study not only explores the long-term effects of the Holocaust upon members of the After Generations, but what it means to responsibly remember the stories from the Holocaust, as well as how individuals might ethically represent such stories/memories. Findings that developed out of an axial analysis of interview transcripts and journal writing, as well as the later development of a performance script, are embodied in a manner that allows the actual language and experiences of the participants to be collectively witnessed both symbolically and visually. Through their desire to remember, members of the After Generations demonstrate how they plan to carry on traditions, live lives that honor those that came before them, and maintain hope for the future. In so doing, the stories shared reveal the centrality of the Holocaust in the lives of members of the After Generations through their everyday choices to responsibly and actively remember through their art, writings, life-work, as well as from within their work in their local communities. Such acts of remembrance are important to the education of others as well as to the construction and maintenance of the After Generations' identities. The representation of these voices acts as a reminder of how hatred and its all-consuming characteristics can affect not only the person targeted, but multiple generations, as well.
ContributorsRath, Sandra (Author) / de la Garza, Sarah Amira (Thesis advisor) / Underiner, Tamara (Committee member) / Corey, Frederick C. (Committee member) / Eisenberg, Judith (Committee member) / Arizona State University (Publisher)
Created2012
Description
Japanese literature of the Heian Era (794-1185) abounds with references to musical instruments and episodes of performance. This thesis provides some insight into that music by translating sections of the "Wakana II" (Spring Shoots II) chapter of the early 11th-century novel Genji monogatari (The Tale of Genji). It explains the musical references and shows how, in the context of the novel, musical performance, musical teaching, and interpersonal relationships were inextricably intertwined. Detailed appendices provide background on traditional Japanese musical instruments, musical theory, and related subjects.
ContributorsBotway, Lloyd (Author) / Creamer, John (Thesis advisor) / Chambers, Anthony (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation employs an ethnographic methodological approach. It explores young people's performance of a New Afrikan subjectivity, their negotiation of a multiple consciousness (American, African-American, New Afrikan and Pan-Afrikan) and the social and cultural implications for rearing children of African descent in the US within a New Afrikan ideology. Young people who are members of the New Afrikan Scouts, attendees of Camp Pumziko and/or students enrolled at Kilombo Academic and Cultural Institute were observed and interviewed. Through interviews young people shared their perceptions and experiences of New Afrikan childhood. The findings of this study discuss the ways in which agency, conformity and the spaces in between are enacted and experienced by New Afrikan children. The findings particularly reveal that in one sense New Afrikan adults aid young people in examining their racial and cultural subjectivity in US America. In another sense New Afrikan adults manipulate young people into performing prescribed roles that are seemingly uncritical of the implications of these performances beyond an adult agenda.
ContributorsSunni-Ali, Asantewa (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Davis, Olga (Committee member) / Saldana, Johnny (Committee member) / Underiner, Tamara (Committee member) / Arizona State University (Publisher)
Created2014
Description
In this dissertation I use Henri Lefebvre's concept of the production of social space to study how political theatre companies and artists in the city of San Juan, Puerto Rico, appropriate and resignify, through performance, their current social space as a strategy to contest Puerto Rico's neoliberal state policies. As Lefebvre suggests, modern industrial cities like San Juan maintain hegemonic power relations through spatial practices, processes through which users and inhabitants of the city conceive, perceive and live space. Lefebvre further suggests that for social justice to be possible, space must be resignified in ways that expose otherwise invisibilized struggles for social belonging and differentiation. I argue that theatrical performance, by staging various social conflicts and contradictions between the dominating space and the appropriating space, can produce new "performance cartographies" through which its audiences – in large part disenfranchised from the neoliberal processes so celebrated elsewhere on the island – may find ways to resignify space or envision new spaces for social justice on their own behalf. Specifically, I examine five theatre groups and artists from oppressed sectors in San Juan, whose work is to various degrees in opposition to neoliberalism, to reveal how both their artistic and quotidian performances might be resignifying space toward these ends. How does the work of Agua, Sol y Sereno, Y no había luz, Teatro Breve, Deborah Hunt and Tito Kayak strategically claim or appropriate space? What kind of knowledges emerge from these spatial tactics, and how are they helping envision new forms of living and social justice in the city?
ContributorsGonzález, Jorge (Author) / Underiner, Tamara (Thesis advisor) / Foster, David W (Committee member) / Tompkins, Cynthia (Committee member) / Arizona State University (Publisher)
Created2015
Description
Traumas are moments which disrupt a way of being, often involving death or injury and a period of recovery for its survivors. They can be personal, experienced by an individual, or collective, experienced by a group of individuals, such as a family. Others, like the bombing of Hiroshima, impact much larger communities, such as an entire town, an entire nation, or even the world. These national traumas often include large-scale death or injury and impact the lives of thousands. In addition to their immediate physical and material affects (mortalities, economic impact, creating a need for aid), these events shatter not only an individual's sense of well- being, but also larger notions of national identity, stability and security. In many cases, they also reveal the limits of prevailing concepts of national cohesiveness, citizenship and belonging while often simultaneously upholding or reconstructing newly problematic concepts of national cohesion. Traumas are documented and grappled with through various media, including literature, poetry, art, photography, and journalism. This dissertation, "Performing Nation, Performing Trauma: Theatre and Performance after September 11th, Hurricane Katrina and the Peruvian Dirty War" examines how theatre and performance are utilized to respond to, document, memorialize and represent national traumas resulting from such historical crises as the Peruvian Dirty Wars, Hurricane Katrina, and September 11th, as well as how they resist dominant narratives that construct national traumas as such. These traumas are relived and expressed through performance perhaps precisely because the members of a nation (consciously or subconsciously) recognize that nation is also performed. This dissertation focuses on both the content of and the reception of these performances and the particular implications that performances about national traumas hold for theatre critics/scholars, performance practitioners and audience members (those immediately connected and not so obviously connected to the event).
ContributorsNigh, Katherine Jean (Author) / Underiner, Tamara (Thesis advisor) / Woodson, Stephani (Committee member) / Whitaker, Matthew C. (Committee member) / Arizona State University (Publisher)
Created2011
Description
Drawing from Foucault's notion of heterotopias, my dissertation identifies and examines three distinct but related events that resignified (re-imagined) Chile during 2010, the year of its Bicentenary, namely: the Rescue of the 33 Miners trapped in the San José mine, the Chilean Military Parade performed in celebration of Chilean Independence, and the Mapuche Hunger Strike of 32 indigenous people accused of terrorism by the Chilean State. My central hypothesis states that these three events constitute heterotopias with strong performative components that, by enacting a utopian and a dystopian nation, denounce the flaws of Chilean society. I understand heterotopias as those recursive systems that invert, perfect or contest the society they mirror. In other words: heterotopias are discursive constructions and material manifestations of social relations that dispute, support, or distort cultural assumptions, structures, and practices currently operating in the representational spaces of a given society. In addition to following the six heterotopological principles formulated by Foucault, these case studies have performance as the central constituent that defines their specificity and brings the heterotopias into existence. Due to the performative nature of these heterotopias, I have come to call them performance heterotopias, that is, sets of behaviors that enact utopias in the historical world, the place in which we live, the site in which "the erosion of our lives, our time and our history occurs," as Foucault puts it. Here, performance would act as the interface, the point of interaction, and suture between the conceived, the perceived and the representational spaces each heterotopia articulates. Thus, a performance heterotopia would be a particular type of heterotopia which is enacted through performance. A relevant aspect that emerged from my research is that heterotopic places not only mirror, contest, and compensate their own host society, but also refer to, and intersect with other contemporaneous heterotopias enacted in that society. In my conclusion I suggest that such interactions also happen between heterotopias that emerge in different countries and cultures. If so, the mapping of utopias enacted in the macro socio geographies of Latin American countries could offer new perspectives to understand the sociopolitical processes that are underway in the region.
ContributorsBravo Goldsmith, Néstor (Author) / Underiner, Tamara (Thesis advisor) / Melo, Carla (Committee member) / Foster, David W (Committee member) / Arizona State University (Publisher)
Created2011
Description
My study centers on the novel Katakiuchi Kidan Jiraiya Monogatari (1806-1807) by Kanwatei Onitake (1760-1818). Jiraiya Monogatari was the first literary reading book to be adapted for the kabuki stage. It was also the prototype on which Mizugaki Egao, Kawatake Mokuami, Makino Shouzou; and others based their bound picture books, kabuki, and films. The tale is composed of two revenge incidents, both of which have the same structural framework and are didactic in tone. In my study, I analyze the two revenge incidents by examining their narrative structures. Each incident has the same three-act structure: setup, confrontation, and resolution. The setup of each revenge incident introduces the main characters and their relationships and establishes the dramatic vehicle, which is an unexpected incident that sets the revenge in motion. The confrontation contains myriad non-linear inserts, plot twists, and reversals of fortune, all of which have the effect of a narrative delay. This prolongation of the outcome of a simple revenge plot allows readers the necessary space in which they can form their own judgments regarding good and evil and consider karmic cause and effect. The resolution, including the climax as well as the ending of the revenge, demonstrates the didactic notion of punishing evil and karmic effect. The two revenge incidents embody two rules, kanzen chouaku and inga, which together highlight the didacticism of Jiraiya monogatari.
ContributorsZhang, Jin (Author) / Creamer, John (Thesis advisor) / West, Stephen (Committee member) / Chambers, Anthony (Committee member) / Arizona State University (Publisher)
Created2012
Description
Bhairavi is a solo performance that investigates belonging and dis-belonging in diaspora communities, especially as it relates to the female body. Specifically, through my experience as a second-generation Indian-American woman - I expose and challenge the notion of ‘tradition,’ as it is forced into women’s bodies, and displaces them in their own homes. Bhairavi is a story told through movement and theatrical narrative composition with research and material collected through structured and unstructured observation of my family, cultural community, and myself.
Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces in relationship to each other. Thus, Negotiations is not a showcase of three individual works, but rather a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices, and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other, and to the whole. For this reason, we have chosen to cross-reference our thesis documents.
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance by Carly Bates
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark” by Allyson Yoder
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora
Communities by Raji Ganesan
Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces in relationship to each other. Thus, Negotiations is not a showcase of three individual works, but rather a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices, and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other, and to the whole. For this reason, we have chosen to cross-reference our thesis documents.
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance by Carly Bates
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark” by Allyson Yoder
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora
Communities by Raji Ganesan
ContributorsGanesan, Raji J (Author) / Underiner, Tamara (Thesis director) / Stephens, Mary (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05