Theatre and war have long been bedfellows. This brief study looks beyond theatre that is about war, and instead focuses on the relationship between theatre and war: how they feed into and inform one another, from rehearsal to post-production analysis. The study builds on the premise that theatre and war share a deep kinship that finds its consummate expression in the very phrase 'theatre of war.' This critical look at the entangled history of theatre and war asks pressing questions that remain pertinent to our current moment: how have the tools of theatre been used in the waging of war? How have the tools of waging war been used in the making of performance? What are the 'shared interests' of theatre and war? And how has performance become a militarized paradigm?
This collection promises to be a cornerstone in the field of performance studies and human rights activism. By mixing scholarly chapters with artists’ manifestos or “interruptions” it promotes the idea of the collective work between academia and social movements. Not only is it very timely, theoretically savvy, and well written, it also brings together scholars, activists, artists, and artivists in a very fluid, collective approach, something many of us strive to do.” — Paola S. Hernández, University of Wisconsin, USA This book charts the changing frontiers of activism in the Americas. Travelling Canada, the US, the US-Mexico border, Chile, Argentina, Brazil, Cuba, Colombia, and Indigenous territories on Turtle Island, it invites readers to identify networks, clusters, and continuities of art-activist tactics designed to exceed the event horizon of the performance protest. Essays feature Indigenous artists engaging in land-based activism and decolonial cyberactivism, grass-roots movements imagining possible futures through cross-sector alliance building, art-activists forwarding tactics of reinvention, and student groups in the throes of theatrical assembly. Artist pages, interspersed throughout the collection, serve as animated, first-person perspectives of those working on the front lines of interventionist art. Taken together, the contributions offer a vibrant picture of emergent tactics and strategies over the past decade that allow art-activists to sustain the energy and press of political resistance in the face of a whole host of rights emergencies across the Americas. Winner of the Excellence in Editing Award from the Association for Theatre in Higher Education and recipient of an Honourable Mention for the Patrick O'Neill Prize administered by the Canadian Association for Theatre Research. Project Artists: - The Great Collective Cough-In – L.M. Bogad - Le Temps d’une Soupe – ATSA - For Freedoms – Hank Willis Thomas and Eric Gottesman - Down with Self-Management! Re-Booting Ourselves as Feminist Servers – subRosa - Journey for Activism and Sustainability Escola de Ativismo - Unstoppable – micha cárdenas, Patrisse Cullors, Chris Head and Edxie Betts - Listen to Black Women – Syrus Marcus Ware - Notes on Sustainable Tools – Fred Moten and Stefano Harney, with Suné Woods - The Mirror Shield Project – Cannupa Hanska Luger - The Human Billboard Project – Leah Decter, with Stop Violence Against Aboriginal Women Action Group
“From a comedic cast of supporting characters to an emphasis on the importance of community... A vibrant second-chance love story about repairing community and romantic connection." —Kirkus Reviews (STARRED) “It’s a pleasure to watch [Caña's characters] develop over the course of the novel. This is a treat.”—Publishers Weekly (STARRED) Santiago "Saint" Vega gets a second shot at love with Lola León, but when duty to his family forces him to do something she'll never forgive, will everything he's built come crumbling down? Years ago, Saint walked away from the girl he loved to fulfill his duty. Now he’s struggling to build bridges between his drifting family, take on more responsibilities at his uncle’s construction company, figure out why his daughter refuses to talk at school and curtail his mischievous abuelo’s escalating pranks. Then she walks back into his life. Social justice advocate Lola León has returned to Humboldt Park for two reasons: to help care for her dear abuelo and to serve the community center she loved, particularly the shelter for unhoused LGBTQIA+ youths. When she finds out that the Vegas are responsible for endangering both, she is more than ready to go to war—even if the boy she never forgot is standing at the front of the battlefield. Neither of them expects to become allies in saving the shelter, helping Saint’s daughter or ending the decades-long feud between their grandfathers. They definitely don’t expect all of their old feelings to come rushing back. As Saint and Lola enter combat, they can’t help but wonder where the other’s true allegiance lies, and whether they’ll win these battles only to lose each other. Vega Family Love Stories Book 1: A Proposal They Can't Refuse Book 2: A Dish Best Served Hot
This book tracks the development of the emerging international legal principle of a responsibility to protect over the past two decades. It contrasts the influential version of the principle introduced by the International Commission on Intervention and State Sovereignty in 2001 with subsequent interpretations of the responsibility to protect advocated by the United Nations through its human protection agenda, and reviews the dangers and inconsistencies inherent in both perspectives. The author demonstrates that the evolving responsibility to protect principle can be recruited to support a wide range of irreconcilable projects, from those of cosmopolitan constitutionalism to those of hegemonic international law. However, despite the dangers posed by this susceptibility to conceptual hijacking, Oman argues that the responsibility to protect, like human rights, is an essential a modern emancipatory formation. To remedy this dangerous malleability, the author advocates a third, distinctive interpretation of the responsibility to protect designed to limit its cooptation by liberal anti-pluralist and hegemonic international law agendas. Oman outlines the key features of such a minimalist conception, and explores its fit with the "RtoP" version of the responsibility to protect promoted in recent years by the UN. The author argues that two crucial features missing from the UN reading of the principle should be developed in future: an acknowledgement of the role of non-state actors as bearers of the responsibility to protect, and a recognition of the principle's legal character. Both of these aspects of the principle offer means to democratize the international law-making enterprise.
Many women throughout the world face the challenge of confronting an unexpected or an unwanted pregnancy, yet these experiences are often shrouded in silence. An Open Secret draws on personal interviews and medical records to uncover the history of women’s experiences with unwanted pregnancy and abortion in the South American country of Bolivia. This Andean nation is home to a diverse population of indigenous and mixed-race individuals who practice a range of medical traditions. Centering on the cities of La Paz and El Alto, the book explores how women decided whether to continue or terminate their pregnancies and the medical practices to which women recurred in their search for reproductive health care between the early 1950s and 2010. It demonstrates that, far from constituting private events with little impact on the public sphere, women’s intimate experiences with pregnancy contributed to changing policies and services in reproductive health in Bolivia.
Why you need a writing revolution in your classroom and how to lead it The Writing Revolution (TWR) provides a clear method of instruction that you can use no matter what subject or grade level you teach. The model, also known as The Hochman Method, has demonstrated, over and over, that it can turn weak writers into strong communicators by focusing on specific techniques that match their needs and by providing them with targeted feedback. Insurmountable as the challenges faced by many students may seem, The Writing Revolution can make a dramatic difference. And the method does more than improve writing skills. It also helps: Boost reading comprehension Improve organizational and study skills Enhance speaking abilities Develop analytical capabilities The Writing Revolution is as much a method of teaching content as it is a method of teaching writing. There's no separate writing block and no separate writing curriculum. Instead, teachers of all subjects adapt the TWR strategies and activities to their current curriculum and weave them into their content instruction. But perhaps what's most revolutionary about the TWR method is that it takes the mystery out of learning to write well. It breaks the writing process down into manageable chunks and then has students practice the chunks they need, repeatedly, while also learning content.
This is the third in the five-yearly series of surveys of what is happening in rock art studies around the world. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa, and the New World. During the period in question, 1999 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and a new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the conservation of sites. With the global increase of tourism, the management of rock art sites that are accessible to the public is a theme of ever-growing importance.
Self-Determination as Voice addresses the relationship between Indigenous peoples' participation in international governance and the law of self-determination. Many states and international organizations have put in place institutional mechanisms for the express purpose of including Indigenous representatives in international policy-making and decision-making processes, as well as in the negotiation and drafting of international legal instruments. Indigenous peoples' rights have a higher profile in the UN system than ever before. This book argues that the establishment and use of mechanisms and policies to enable a certain level of Indigenous peoples' participation in international governance has become a widespread practice, and perhaps even one that is accepted as law. In theory, the law of self-determination supports this move, and it is arguably emerging as a rule of customary international law. However, ultimately the achievement of the ideal of full and effective participation, in a manner that would fulfil Indigenous peoples' right to self-determination, remains deferred.
Today, any regular newspaper reader is likely to be exposed to reports on manifold forms of (physical, emotional, sexual) child abuse on the one hand, and abnormal behavior, misconduct or offences of children and minors on the other hand. Occasionally reports on children as victims and children as offenders may appear on the same issue or even the same page. Rather seldom the more complex and largely hidden phenomena of structural hostility or indifference of society with a view to children are being dealt with in the press. Such fragmentary, ambiguous, incoherent or even contradictory perception of children in modem society indicates that, firstly, there is a lack of reliable information on modem childhood, and secondly, children are still treated as a comparatively irrelevant population group in society. This conclusion may be surprising in particular when drawn at the end of The Century of the Child proclaimed by Ellen Key as early as 1902. Actually, there exist unclarities and ambiguities about the evolution of childhood in the last century not only in public opinion, but also in scientific literature. While De Mause with his psycho-historic model of the evolution of childhood, comprising different stages from infanticide, abandonment, ambivalence, intrusion, socialisation to support, underlines the continuous improvement of the condition of childhood throughout history and thus rather confirms Key's expectations, Aries, with his social history of childhood, seems to hold a more culturally pessimistic view.
He Played For His Wife…And Other Stories continues a rich tradition of fictional writing on one of the world’s greatest games. A ghost at the table, a heads-up with Shakespeare, a high stakes stick-up, a hand played on Death Row, tales of pioneers and knaves, even a celestial argy-bargy – each story in this anthology reveals that when it comes to playing poker, no one can hide from their true selves. Whoever you are, you can be sure all your passions and compulsions, your desires, your foibles and idiosyncrasies will be unsparingly crystalised and exposed on the baize. First mentioned in print in a military history book published in 1836, the game of poker quickly found its way into the modern literary canon. Requiring technical skill and creative fiction in equal measure, poker is the quintessential writer’s game. From John Steinbeck, Bret Harte, Henry James to Damon Runyon, writers throughout the ages have found in poker a natural prism to refract complex human experience. Poker is one of the few sports to have spawned a literature almost as rich and colourful as its own exotic history. Featuring contributions from Booker Prize-winning novelist D.B.C. Pierre, award-winning playwright Patrick Marber, actor Neil Pearson and poet laureate Carol Ann Duffy, He Played For His Wife…And Other Stories is a compelling collection that will appeal to poker fans everywhere.
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