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A Performance of the Baja Ni Funeral Cycle in Tireli, Mali
Though the Dogon are well-described, their culture still holds surprises. One of these is the cycle of songs called baja ni, which is at the heart of their funerary rites. Surprisingly, these songs have a historic author, a blind poet/prophet who roamed the area in the 19th century and left a huge heritage of songs and prophecies. This book gives the full text of one performance of this legacy. The lyrics cover a range of topics, from comments on historical events to philosophical musings about life and death, and from remembering the departed to celebrating the joys of being alive.
A Performance of the Baja Ni Funeral Cycle in Tireli, Mali
Though the Dogon are well-described, their culture still holds surprises. One of these is the cycle of songs called baja ni, which is at the heart of their funerary rites. Surprisingly, these songs have a historic author, a blind poet/prophet who roamed the area in the 19th century and left a huge heritage of songs and prophecies. This book gives the full text of one performance of this legacy. The lyrics cover a range of topics, from comments on historical events to philosophical musings about life and death, and from remembering the departed to celebrating the joys of being alive.
Bent Legs on Strange Grounds, 1982–2023
Author:
In Butoh and Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023, Marshall considers how the originally Japanese forms of butoh dance and Suzuki’s theatre reconfigure historical lineages to find ancient yet transcultural ancestors within Australia and beyond. Marshall argues that artists working in Australia with butoh and Suzuki techniques develop conflicted yet compelling diasporic, multicultural, spiritually and corporeally compelling interpretations of theatrical practice. Marshall puts at the centre of butoh historiography the work of Tess de Quincey, Yumi Umiumare, Tony Yap, Lynne Bradley, Simon Woods, Frances Barbe, and Australian Suzuki practitioners Jacqui Carroll and John Nobbs.
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Bent Legs on Strange Grounds, 1982–2023
Author:
In Butoh and Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023, Marshall considers how the originally Japanese forms of butoh dance and Suzuki’s theatre reconfigure historical lineages to find ancient yet transcultural ancestors within Australia and beyond. Marshall argues that artists working in Australia with butoh and Suzuki techniques develop conflicted yet compelling diasporic, multicultural, spiritually and corporeally compelling interpretations of theatrical practice. Marshall puts at the centre of butoh historiography the work of Tess de Quincey, Yumi Umiumare, Tony Yap, Lynne Bradley, Simon Woods, Frances Barbe, and Australian Suzuki practitioners Jacqui Carroll and John Nobbs.
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
New Perspectives
Revisiting Revenge Tragedy explores one of the most popular and influential genres of early modern theatre. Revenge tragedies resonated with audiences and authors because of their explicit and often horrific depictions of political instability, religious violence, and affective distress. In innovative and provocative ways, this book situates the political, religious, and affective dimensions of such plays within the transnational dynamics of their inception and dissemination across a conflicted Europe, raising questions for us now about authority, tyranny, and justice. Moreover, detailed case studies demonstrate how depicting revenge questioned or evinced sometimes radical sexual, cultural, and political identities and positions.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
New Perspectives
Revisiting Revenge Tragedy explores one of the most popular and influential genres of early modern theatre. Revenge tragedies resonated with audiences and authors because of their explicit and often horrific depictions of political instability, religious violence, and affective distress. In innovative and provocative ways, this book situates the political, religious, and affective dimensions of such plays within the transnational dynamics of their inception and dissemination across a conflicted Europe, raising questions for us now about authority, tyranny, and justice. Moreover, detailed case studies demonstrate how depicting revenge questioned or evinced sometimes radical sexual, cultural, and political identities and positions.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
Revisiting Critical Event Narrative Inquiry
This thought-provoking research anthology adopts a postmodern stance and fills in a gap of knowledge for the education of professional development in teacher education, health sciences and the arts. Allowing subjectivity and multiple voices, the authors add to the intimate and negotiated knowledge of being and becoming – indigenous, architect, mother, teacher, health researcher, and supervisor. In fifteen chapters, the authors share knowledge of pain and reward in critical events in the realm of professional identity formation. The book provides a selection of personal and far-reaching stories and adds to the reflexivity of memories of critical events.
Contributors are: Geir Aaserud, Åsta Birkeland, Bodil H. Blix, Sidsel Boldermo, Mimesis Heidi Dahlsveen, Nanna Kathrine Edvardsen, Rikke Gürgens Gjærum, Tona Gulpinar, Carola Kleemann, Tove Lafton, Mette Bøe Lyngstad, Elin Eriksen Ødegaard, Anna-Lena Østern, Alicja R. Sadownik, Tiri Bergesen Schei and Vibeke Solbue.
Contributors are: Geir Aaserud, Åsta Birkeland, Bodil H. Blix, Sidsel Boldermo, Mimesis Heidi Dahlsveen, Nanna Kathrine Edvardsen, Rikke Gürgens Gjærum, Tona Gulpinar, Carola Kleemann, Tove Lafton, Mette Bøe Lyngstad, Elin Eriksen Ødegaard, Anna-Lena Østern, Alicja R. Sadownik, Tiri Bergesen Schei and Vibeke Solbue.
Revisiting Critical Event Narrative Inquiry
This thought-provoking research anthology adopts a postmodern stance and fills in a gap of knowledge for the education of professional development in teacher education, health sciences and the arts. Allowing subjectivity and multiple voices, the authors add to the intimate and negotiated knowledge of being and becoming – indigenous, architect, mother, teacher, health researcher, and supervisor. In fifteen chapters, the authors share knowledge of pain and reward in critical events in the realm of professional identity formation. The book provides a selection of personal and far-reaching stories and adds to the reflexivity of memories of critical events.
Contributors are: Geir Aaserud, Åsta Birkeland, Bodil H. Blix, Sidsel Boldermo, Mimesis Heidi Dahlsveen, Nanna Kathrine Edvardsen, Rikke Gürgens Gjærum, Tona Gulpinar, Carola Kleemann, Tove Lafton, Mette Bøe Lyngstad, Elin Eriksen Ødegaard, Anna-Lena Østern, Alicja R. Sadownik, Tiri Bergesen Schei and Vibeke Solbue.
Contributors are: Geir Aaserud, Åsta Birkeland, Bodil H. Blix, Sidsel Boldermo, Mimesis Heidi Dahlsveen, Nanna Kathrine Edvardsen, Rikke Gürgens Gjærum, Tona Gulpinar, Carola Kleemann, Tove Lafton, Mette Bøe Lyngstad, Elin Eriksen Ødegaard, Anna-Lena Østern, Alicja R. Sadownik, Tiri Bergesen Schei and Vibeke Solbue.
Author:
Abstract
“Muitalus” is “story” or “narrative” in North Sámi. The word is closely related to the word for “remember” – “muitit”. The objective of narrative inquiry is to transform those who are participating. Such an enquiry must carry expectations for the future. In indigenous societies, telling stories has always been a means of transferring knowledge, sharing knowledge of expected behavior, or learning experiences. From the stories and the process of storytelling in a research project on language vitalization in a Sámi kindergarten department, I explore three themes in this article: language, identity, and Sámi pedagogy as experienced in Sámi practices. The stories are not merely material for this article, but they have been, and continue to be, a way of making ourselves – the participants – conscious about who has the power of defining Sámi, and how we, with our backgrounds may, or have the right to, work with strengthening Sámi language and culture in a Sea-Sámi area.
Abstract
The purpose of this article is to illustrate how poetic narratives, created based on lived experience of supervision, can contribute to raising awareness of the involved parties’ professional identity development, as well as of values and premises for dialogic and relational doctoral supervision. Applying narrative inquiry as the analytical entry point (Caine, Estefan, & Clandinin, 2013), five central dimensions of research supervision are discussed (Lee, 2008). The 16 narratives presented in this article have been developed through a creative co- design partnership between the supervisor and the research fellow. Supervision is illustrated by concentrating on the two parties’ narratives relating to time, place, and relation. The article focuses on the most primary dimension, the relational, which is linked to vulnerability in life. Methodologically, the article moves autoethnographically between performance and sensory ethnography (Pink, 2015; Denzin, 1997) as its scientific theoretical foundation.
Abstract
This chapter, as the book in hand, written in the spirit of John Dewey, considers personal experience as scientific exploration. Personal growth and formative development are highlighted as important in many aspects of life, including professional work-life. We introduce how professional identities are continuously developed in processes of cultural formation and unpack episodes from various professions. It becomes apparent how personal experience is entangled with the shaping of professional identities. We introduce three questions: Who are we, in relation to our profession? What can we learn about the formation of professional identity from a narrative inquiry? How can we extend our understanding of the formation of professional identity from the perspective of critical event narratives?
Author:
Abstract
This autobiographic narrative inquiry is based upon the author’s cross- cultural research and collaboration between Chinese and Norwegian teacher education programmes. Through this long-term commitment and repeated crossing of national, ideological, and linguistic borders, stories have been lived, told, and retold. These encounters with various boundaries have provided fertile ground for making sense of the world and for her to become who she is in the midst of these stories. Participating in cross-cultural research and international teacher programmes is therefore not purely limited to epistemology and the understanding of other cultures in theory, but rather, these experiences provide potential interplay and dialogue between “insiders” and “outsiders” and have shaped her professional identity as a cross-cultural educator and researcher. The professional identity is not a static position but something relational and dynamic in time and place, always on the threshold of a symbolic place of ambiguity and tension.
Author:
Abstract
How can one single episode in a young life be a turning point? One might think that turning points are experiences like great losses or traumatic love affairs. However, in this autobiographical narrative, I am going to present and unpack a seemingly insignificant event that was nevertheless very significant for me and for the formation of my professional identity. Yet, it is not simply about me as a person, but rather the emotional and muscular phenomena that occur when sudden and unexpected events become so existential that important decisions about one’s professional life end up being made.
At the core of the story is my choir conductor, who behaved and acted as if she had little knowledge about the social processes that shape young people. Her judgement has taught me what is at stake when I, as a teacher, find myself in situations where I could make a misstep and behave in an ethically questionable manner.
Author:
Abstract
In this text, I will perform a critical analysis of some of the ongoing research on current Holocaust education in Norway. I will also focus on my own research on inclusion and an equal education for all. Lately, I have been reflecting on why I have some misgivings around both my own research, and that of others in this field. By using autoethnographical narrative inquiry, my own memory will come into contact with my professional life. I think of it as using the feeling of concern as a critical lens. By using my own concern to look at these fields with a critical eye, I have arrived at the following three themes I want to discuss in a critical light. Those are:
- – An equal education for all
- – The education about evil
- – The feeling of shame
By discussing these three elements in light of theories of education on the Holocaust and my own research, I want to look more closely to see if the concern experienced can tell me something about the existing knowledge in the field.