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dc.contributor.authorBalfour, Michael
dc.contributor.editorHamish Fyfe
dc.date.accessioned2017-10-10T12:31:11Z
dc.date.available2017-10-10T12:31:11Z
dc.date.issued2012
dc.identifier.issn17571936
dc.identifier.doi10.1386/jaac.2.3.177_1
dc.identifier.urihttp://hdl.handle.net/10072/46115
dc.description.abstractIn 2006 there were 9.9 million refugees worldwide, as defined by the United Nations 1951 Convention, and 32.9 million persons of concern. In a comprehensive review of settlement programmes in Australia, the Department of Immigration and Citizenship (DIAC) concluded that there was an urgent need for targeted settlement assistance towards this group if they are to achieve full and active participation in society and further research should be undertaken to track the progress of humanitarian entrants in the future. The emotional, psychological and experiential impact of war and displacement on refugees has significant and long-lasting implications for both the individuals involved and the broader communities in which they live. Performers, theatre activists and human rights workers have for some time been interested in working with refugees. However, the category of refugee performance can be seen to create an essentialist frame from which the extrication of practice is almost impossible. The article will explore the performing of refugee representation through an examination of two examples of practice, one a small-scale theatre project in Queensland, Australia the other a multifaceted arts project in the United Kingdom involving theatre, community photography and a combustible 25-metre sculpture. In the article, I will argue that the effort to construct a discourse about refugee performance is enmeshed in an unwavering paradox. Put simply, how may practice deal with refugee stories when the stories themselves (bureaucratic performance, personal stories as victimhood, suffering as spectacle) make an encounter with alterity more elusive?
dc.description.peerreviewedYes
dc.description.publicationstatusYes
dc.format.extent6500658 bytes
dc.format.mimetypeapplication/pdf
dc.languageEnglish
dc.language.isoeng
dc.publisherIntellect Press
dc.publisher.placeUnited Kingdom
dc.relation.ispartofstudentpublicationN
dc.relation.ispartofpagefrom177
dc.relation.ispartofpageto195
dc.relation.ispartofissue3
dc.relation.ispartofjournalJournal of Arts and Communities
dc.relation.ispartofvolume2
dc.rights.retentionY
dc.subject.fieldofresearchDrama, Theatre and Performance Studies
dc.subject.fieldofresearchcode190404
dc.titleRefugee performance: Encounters with alterity
dc.typeJournal article
dc.type.descriptionC1 - Articles
dc.type.codeC - Journal Articles
gro.facultyArts, Education & Law Group, School of Education and Professional Studies
gro.rights.copyright© 2012 Intellect Ltd . This is the author-manuscript version of this paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal website for access to the definitive, published version.
gro.date.issued2015-04-10T00:53:10Z
gro.hasfulltextFull Text
gro.griffith.authorBalfour, Michael S.


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