Mare Nostrum, or On Water Matters. / Cox, Emma; Zaroulia, Marilena.

In: Performance Research, Vol. 21, No. 2, 03.05.2016, p. 141-149.

Research output: Contribution to journalArticlepeer-review

Published

Standard

Mare Nostrum, or On Water Matters. / Cox, Emma; Zaroulia, Marilena.

In: Performance Research, Vol. 21, No. 2, 03.05.2016, p. 141-149.

Research output: Contribution to journalArticlepeer-review

Harvard

Cox, E & Zaroulia, M 2016, 'Mare Nostrum, or On Water Matters', Performance Research, vol. 21, no. 2, pp. 141-149. https://doi.org/10.1080/13528165.2016.1175724

APA

Cox, E., & Zaroulia, M. (2016). Mare Nostrum, or On Water Matters. Performance Research, 21(2), 141-149. https://doi.org/10.1080/13528165.2016.1175724

Vancouver

Cox E, Zaroulia M. Mare Nostrum, or On Water Matters. Performance Research. 2016 May 3;21(2):141-149. https://doi.org/10.1080/13528165.2016.1175724

Author

Cox, Emma ; Zaroulia, Marilena. / Mare Nostrum, or On Water Matters. In: Performance Research. 2016 ; Vol. 21, No. 2. pp. 141-149.

BibTeX

@article{b8ba30f396ec4685a7ca5af99a9205fe,
title = "Mare Nostrum, or On Water Matters",
abstract = "This dialogue between two performance academics, whose childhood memories are intertwined with memories of the sea, aims to consider the role of performance as response to or reflection on the numerous deaths of migrants in the Mediterranean Sea, while tracing echoes and resonances of the migration crisis in the Australian context.In the wake of the cessation in late 2014 of Italy{\textquoteright}s European Commission-supported Operation Mare Nostrum migrant search-and-rescue programme, and with escalating numbers of deaths in the Mediterranean over recent months, theatre and performative protest interventions are occurring with greater frequency. We discuss two of the most prominent modes of representation and response. The first is the narrative or storytelling mode, based upon testimonies or fictionalized stories of survivors, rescuers and other witnesses to maritime migration. Works such as Anders Lustgarten{\textquoteright}s Lampedusa (Soho, London 2015), and Case Farmakonisi, or The Trial of Water (Athens Festival, 2015) depend on narrative imagination and the ability of audience members to envisage the invisible, to witness the unknowable.The second is what we call the {\textquoteleft}synecdoche{\textquoteright} mode, which uses techniques of protest and site-responsive installation art across Europe, employing visual and embodied grammars to trigger affective engagement in public places. Works such as Die Toten Kommen [The Dead are Coming] (summer 2015) by activist collective Center for Political Beauty raise a key dilemma that our dialogue also begins to probe: amidst this most urgent of contemporary crises, what is that we look to performance and activism for (ethically, aesthetically and politically)? Why is it important that migrants{\textquoteright} deaths occur under the watch of a community of European nations whose maritime technologies have, over the last five centuries, directly enabled the extensive exploitation of lands and peoples outside Europe? What may be the structural and psychological explanations for a collective failure of empathy (not just mere concern or compassion) by those of us who do not know what it means to be abjectly {\textquoteleft}at sea{\textquoteright} in a neoliberal world? What does performance that sits at the border of our earth-bound existence and the infinite sea—{\textquoteleft}mare nostrum{\textquoteright} with its many unknowns—invite us to perceive, and what does it permit us to ignore?",
author = "Emma Cox and Marilena Zaroulia",
year = "2016",
month = may,
day = "3",
doi = "10.1080/13528165.2016.1175724",
language = "English",
volume = "21",
pages = "141--149",
journal = "Performance Research",
issn = "1352-8165",
publisher = "Taylor and Francis Ltd.",
number = "2",

}

RIS

TY - JOUR

T1 - Mare Nostrum, or On Water Matters

AU - Cox, Emma

AU - Zaroulia, Marilena

PY - 2016/5/3

Y1 - 2016/5/3

N2 - This dialogue between two performance academics, whose childhood memories are intertwined with memories of the sea, aims to consider the role of performance as response to or reflection on the numerous deaths of migrants in the Mediterranean Sea, while tracing echoes and resonances of the migration crisis in the Australian context.In the wake of the cessation in late 2014 of Italy’s European Commission-supported Operation Mare Nostrum migrant search-and-rescue programme, and with escalating numbers of deaths in the Mediterranean over recent months, theatre and performative protest interventions are occurring with greater frequency. We discuss two of the most prominent modes of representation and response. The first is the narrative or storytelling mode, based upon testimonies or fictionalized stories of survivors, rescuers and other witnesses to maritime migration. Works such as Anders Lustgarten’s Lampedusa (Soho, London 2015), and Case Farmakonisi, or The Trial of Water (Athens Festival, 2015) depend on narrative imagination and the ability of audience members to envisage the invisible, to witness the unknowable.The second is what we call the ‘synecdoche’ mode, which uses techniques of protest and site-responsive installation art across Europe, employing visual and embodied grammars to trigger affective engagement in public places. Works such as Die Toten Kommen [The Dead are Coming] (summer 2015) by activist collective Center for Political Beauty raise a key dilemma that our dialogue also begins to probe: amidst this most urgent of contemporary crises, what is that we look to performance and activism for (ethically, aesthetically and politically)? Why is it important that migrants’ deaths occur under the watch of a community of European nations whose maritime technologies have, over the last five centuries, directly enabled the extensive exploitation of lands and peoples outside Europe? What may be the structural and psychological explanations for a collective failure of empathy (not just mere concern or compassion) by those of us who do not know what it means to be abjectly ‘at sea’ in a neoliberal world? What does performance that sits at the border of our earth-bound existence and the infinite sea—‘mare nostrum’ with its many unknowns—invite us to perceive, and what does it permit us to ignore?

AB - This dialogue between two performance academics, whose childhood memories are intertwined with memories of the sea, aims to consider the role of performance as response to or reflection on the numerous deaths of migrants in the Mediterranean Sea, while tracing echoes and resonances of the migration crisis in the Australian context.In the wake of the cessation in late 2014 of Italy’s European Commission-supported Operation Mare Nostrum migrant search-and-rescue programme, and with escalating numbers of deaths in the Mediterranean over recent months, theatre and performative protest interventions are occurring with greater frequency. We discuss two of the most prominent modes of representation and response. The first is the narrative or storytelling mode, based upon testimonies or fictionalized stories of survivors, rescuers and other witnesses to maritime migration. Works such as Anders Lustgarten’s Lampedusa (Soho, London 2015), and Case Farmakonisi, or The Trial of Water (Athens Festival, 2015) depend on narrative imagination and the ability of audience members to envisage the invisible, to witness the unknowable.The second is what we call the ‘synecdoche’ mode, which uses techniques of protest and site-responsive installation art across Europe, employing visual and embodied grammars to trigger affective engagement in public places. Works such as Die Toten Kommen [The Dead are Coming] (summer 2015) by activist collective Center for Political Beauty raise a key dilemma that our dialogue also begins to probe: amidst this most urgent of contemporary crises, what is that we look to performance and activism for (ethically, aesthetically and politically)? Why is it important that migrants’ deaths occur under the watch of a community of European nations whose maritime technologies have, over the last five centuries, directly enabled the extensive exploitation of lands and peoples outside Europe? What may be the structural and psychological explanations for a collective failure of empathy (not just mere concern or compassion) by those of us who do not know what it means to be abjectly ‘at sea’ in a neoliberal world? What does performance that sits at the border of our earth-bound existence and the infinite sea—‘mare nostrum’ with its many unknowns—invite us to perceive, and what does it permit us to ignore?

U2 - 10.1080/13528165.2016.1175724

DO - 10.1080/13528165.2016.1175724

M3 - Article

VL - 21

SP - 141

EP - 149

JO - Performance Research

JF - Performance Research

SN - 1352-8165

IS - 2

ER -