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Cover -- Contents -- Acknowledgments -- Introduction -- 1. "Tell My People to Go West" -- 2. "I'd Go [Wherever] They Said 'Show' " -- 3. "Wherever the Opportunity Was Goin' to Be I'd a Been Gone" -- 4. "I Want to Go Home" -- Epilogue -- Conclusion -- Bibliography -- Index.

International audience ; Theatrical works staging Europe through the prism of human trafficking and European-bound migration across the Mediterranean have situated the Italian island of Lampedusa in the public imagination as the geographic symbol of Europe's failure to respond adequately to humanitarian needs. A wide range of performance pieces on the subject of Lampedusa use different media to explore how migration and human trafficking call into question the authenticity of the European Union and European culture's commitment to integration, human rights, and diversity. Engagement with what can arguably be termed the artistic trope of migration in the first decade of the 21st century, and notably those focused on Lampedusa, are key to understanding how the trope of Europe and its symbolic representations are constructed and deployed. This paper juxtaposes an analysis of a select corpus of theatrical works by Lina Prosa, Marco Martinelli, Anders Lustgarten, and Zentrum für Politische Schönheit with a selection of political cartoons in order to sketch the key tropes in the broader spectrum of symbolic figures of Europe in the early 21st century and to consider the stakes and consequences in how artists and artistic institutions engage with tropes of Europe and the political reality of Europe in the early 21st century. ; Les œuvres dramatiques qui mobilisent la traite des êtres humains et la migration trans-méditerranéenne vers l'Europe comme éléments structurant pour une mise en scène de l'Europe ont réussi à fixer l'île italienne de Lampedusa dans l'imaginaire public comme symbole géographique de l'échec de l'Europe à tenir ses engagements humanitaires. Les praticiens des arts du spectacle vivant se servent de plusieurs médias pour créer des œuvres consacrées au sujet des naufrages au large de Lampedusa pour démontrer que la migration et la traite des humains remet en cause l'authenticité de l'engagement de l'Union européenne et de la culture européenne en matière d'intégration, de droits humains et de ...

This article highlights the synergies between securitisation theory and the empirically rich literature on crossborder kin-state policies by underlining the unique dilemmas the logic of security brings to the fore in the transborder setting. Doing so, the article critically engages securitisation theory by focusing on two of its underdeveloped aspects: first, the concept's relevance for non-liberal settings where securitisation can serve multiple goals other than justifying emergency measures; and second, how securitisation can unfold in a trans-border context and thereby disrupt the Westphalian notion of the unity of state, society and sovereignty. The way Hungary's illiberal regime exported the securitisation of migration to its kin-minority in Transylvania provides the empirical backdrop for the article. Transylvania is neither a target nor a transit region; nevertheless, the securitising narrative resonated with ethnic Hungarians. To account for this resonance, the article relies on the concept of translation to show how local audiences in Transylvania reconstructed the exported meaning of security to suit their own identity, partly by linking it to their historical experiences – even turning it into banal everyday performances – and partly by seeing it as an opportunity to enact national unity and to demonstrate their loyalty to the securitising actor in Budapest, across the border.

Cover image: Photograph by Ponch Hawkes.

ABSTRACTIn this article, I engage with the insights that emerged through the making of Desiring Bollywood, a collaborative ethno‐fiction project I produced in 2018. The project recruited academics, amateur actors, novice filmmakers, and enthusiastic university students to narrate the story of Jason, an aspiring actor and filmmaker from Nigeria who I first met in 2013, soon after his release from Tihar Prison in Delhi, India. My goals are two‐fold: first, to share a few scenes from the film—embedded in this article as video clips—to broadly theorize the affordances and limits of what I call re‐staging, the collaborative, performance‐based multimodal method we devised and deployed to produce Desiring Bollywood. Second, and more central to the article, I aim to analyze these very same scenes to show how re‐staging, as it offered participants involved in the project the opportunity to reflexively explore how Jason's experiences of discrimination in Delhi and the aspirations and desires that led him there in the first place, creates a rich site of analysis to engage with the nuances of anti‐Black racism in India in a moment where "India–Africa" economic relationships are on the rise. [multimodality, collaboration, racism, migration, Africa, India, Nigeria]

This article examines the adaptation from book to film of a recent Senegalese tale of clandestine migration by boat. Abasse Ndione's Mbëkë mi (2008) foregrounds the motivations for migration for Senegalese youth and provokes readers' sympathy for its migrating characters. It uses a heteroglossic lexicon which is nevertheless anchored in the French language on which the author must rely in order to publish his message. Moussa Touré's film La Pirogue, by contrast, although sponsored by agents promoting francophonie, includes French and African languages in equal measure. This article examines the ethnic, religious and linguistic differences that the film points up as it represents contemporary migration.

chapter 1 Bollywood, Bhangra and being British -- chapter 2 Mapping migration: Transnational formations of diaspora -- chapter 3 Bollywood and/ as musical theatre -- chapter 4 Bollywood on stage: Transadaptation and 'Bollywoodisation' -- chapter 5 Bending Bhangra: Rifco Arts and Bend It Like Beckham: the musical.

The Argonauts in the Pacific, famous through Malinowski's work, have not been exempt from general historical developments in the world around them. By focusing on two plays performed by the Tokelau Te Ata, a theater group, the author reveals the self-perceptions of the Tokelau and highlights the dynamic relationship between issues of representation and political processes such as nation building, infrastructural changes and increased regional migration. It is through an analysis of communicative practices, which the author carried out in the home atolls and in the diasporic communities in New Zealand, that we arrive at a proper understanding of how global processes affect local institutions and everyday interaction

"How does the act of performance speak to the concept of commemoration? How and why does commemorative theatre and performance operate as a conceptual, historical and political site from which to interrogate ideas of nationalism and nationhood? This volume explores how theatre and performance creates a vital stage for acts and displays of commemoration. It considers the concept of nationhood and crises of hate, nationalism, migration crises, and political, racial and religious bigotry, pertinent to cultural and social political life across the globe. Case studies featured are drawn from across Europe, the Middle East, Asia, Africa and Latin America. The book's four parts each explore commemoration through a different theoretical lens and present a new set of dramaturgies for research and study. While Section 1 offers a critical survey of 20th and 21st-century discourses, Section 2 uncovers the commemorative practices underpinning contemporary dramaturgy and applies these practices to plays and performance works by Martin Lynch, Frank McGuinness, Sanja Mitrovic, Theater RAST, Les SlovaKs Dance Collective, Estela Golovchenko, Wajdi Mouawad, Áine Stapleton, CoisCéim, ANU Productions, Aubrey Sekhabi, and Indian and African dance practices. The final sections investigate how individual and collective memory and performances of commemoration can become tools for propaganda and political agendas"--

This article explores some recent representations of migrants and migration in British Theatre, specifically: Zinnie Harris' How To Hold Your Breath (Royal Court, 2015), Isango Ensemble's A Man of Good Hope (Young Vic, 2016), and Zodwa Nyoni's Nine Lives (Oron Mor/West Yorkshire Playhouse, 2014). It applies Tim Ingold's critique of 'containment' and Julia Kristeva's idea of the 'abject' and 'deject' to critique representations of displacement and migrant experience that implicitly privilege a white, western perspective and position migrants as others as against an assumed normality of identity considered as a consequence of containment within borders. The article goes on to ask how theatre may represent the condition of nationlessness, and offers Nyoni's Nine Lives as an example of how performance may enable identity to be reframed not as the experience of containment within borders (of self and nation), but as a consequence of movement across them.