Samid Suliman – författare

This book offers a unique Australian perspective on the global crisis in refugee protection.Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children’s theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity—and nonperformativity—of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees.Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

This book offers a unique Australian perspective on the global crisis in refugee protection.Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children’s theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity—and nonperformativity—of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees.Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

The politics of the twenty-first century is marked by dissent, tumult and calls for radical change, whether through food riots, anti-war protests, anti-government tirades, anti-blasphemy marches, anti-austerity demonstrations, anti-authoritarian movements and anti-capitalist occupations. Interestingly, contemporary political protests are borne of both the Right and Left and are staged in both the Global North and South. Globally, different instances of protest have drawn attention to the deep fissures which challenge the idea of globalisation as a force for peace. Given the diversity of these protests, it is necessary to examine the particular nature of grievances, the sort of change which is sought and the extent to which localised protest can have global implications. The contributions in this book draw on the theoretical work of Hardt and Negri, David Graeber and Judith Butler, among others, in order explore the nature of hegemony, the Occupy movement, the Arab Spring, the responses of authorities to protest and emotion and public performance in, and representation of, protest. The book concludes with David Graeber’s reply to reviews of his recent The Democracy Project: A History, A Crisis, A Movement.This book was published as a special issue of Global Discourse.