Show simple item record

dc.contributor.authorBalfour, Michaelen_US
dc.contributor.editorHamish Fyfeen_US
dc.date.accessioned2017-05-03T15:17:07Z
dc.date.available2017-05-03T15:17:07Z
dc.date.issued2012en_US
dc.identifier.issn17571936en_US
dc.identifier.doi10.1386/jaac.2.3.177_1en_US
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?en_US
dc.description.peerreviewedYesen_US
dc.description.publicationstatusYesen_US
dc.format.extent6500658 bytes
dc.format.mimetypeapplication/pdf
dc.languageEnglishen_US
dc.language.isoen_US
dc.publisherIntellect Pressen_US
dc.publisher.placeUnited Kingdomen_US
dc.relation.ispartofstudentpublicationNen_US
dc.relation.ispartofpagefrom177en_US
dc.relation.ispartofpageto195en_US
dc.relation.ispartofissue3en_US
dc.relation.ispartofjournalJournal of Arts and Communitiesen_US
dc.relation.ispartofvolume2en_US
dc.rights.retentionYen_US
dc.subject.fieldofresearchDrama, Theatre and Performance Studiesen_US
dc.subject.fieldofresearchcode190404en_US
dc.titleRefugee performance: Encounters with alterityen_US
dc.typeJournal articleen_US
dc.type.descriptionC1 - Peer Reviewed (HERDC)en_US
dc.type.codeC - Journal Articlesen_US
gro.facultyArts, Education & Law Group, School of Education and Professional Studiesen_US
gro.rights.copyrightCopyright 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.en_US
gro.date.issued2015-04-10T00:53:10Z
gro.hasfulltextFull Text


Files in this item

This item appears in the following Collection(s)

  • Journal articles
    Contains articles published by Griffith authors in scholarly journals.

Show simple item record