The Other: the old and current life of a “White Man”

So I have been very into politics this summer and it has become very apparent to me how xenophobic we are as a nation. We are not open to the ideas of others in this country and it has been a problem since our country first began. We don't like 'the other'. This is ironic considering the founding principles of our constitution.
The article points out a minority group that until now i had not thought of as an 'other' group. Admittedly, I have always had a number of reactions to the disabled. Mostly this reaction is pity or anxiety or even patronization. When I think of a group being an other I always go to a group that I normally don't associate with in daily life. (Well at least before I came to school) Before i left home in idaho i had only met one black man. And gay people were an abomination. I was surrounded by a very large latino population but never spoke to them. What I knew of the other was that they were in America because life in Mexico was inferior. What I knew of African America was what i saw on white TV and that showed a less than desirable lifestyle. I had no concept of a Gay community because gay men only wanted to have sex with you and that was wrong.
I bring all this up for a reason. It has become apparent to me this summer that nothing has changed back in the 'world' I grew up in. I have livedin, thrived in and been protected in my little theatre community for about 10 years now. I take pride in being very xenocentric with my philosophy. (though I'm still not very good at practicing it in life) But recent politics have made me very aware of how mainstream america treats the other. We as white americans think that the ideal is good old fashion 1950's America. We are stuck in that colonial mind set where we the white straight anglo-saxon protestant american is the norm of american life. Meanwhile we forget that the 1950's were only good times for us. I see manifested in laws like Prop 8. I can see it in protests against Muslim Community Centers. I see it in laws that allow for cops to detain you for questioning because of your ethnicity. It's white america desperatly trying to maintain control over those that it has colonized, all the while trying put up a show of tolerance.

Global Theatre and "The Other": Beginning Again

Hello, everyone.

It's been two years since this blog was created for the Tools for a World Theatre class in Spring Semester of 2008. We're starting again with a new group, and are using the same blog we created together last time to discuss some of the same topics.

As you might have noted in the post to which I linked above, this is a required class for MFA actors at the University of Louisville, and our interest is in examining different ways of using the inherently local form of live theatre to engage with various nations, communities and cultures around the world. We study a few of the theatre and performance practices of non-European cultures and people from those cultural traditions in diaspora, discuss the similarities and differences between our own work as theatre artists and the traditions we are examining, and debate the ethics and possibilities of creating performance that explores questions of difference, cultural exchange, colonization and nationality (among many other things). We're interested in learning about different performance traditions and finding possibilities for incorporating some of those traditions into our own work, while being fully aware of the issues raised by our own cultural positions in an increasingly "Global" culture.

We began, as we did last time, by discussing chapters on concepts of "the Other" and Postcolonial Theory. Our goal was to come up with a list of questions we could use to approach some of the plays and performances we'll be looking at over the course of the semester.

A few questions we came up with:

• How do we react when first faced with seeing "Otherness," whether it be based on disability, race, gender, sexuality, etc.? And what mechanisms to we put in place to keep those reactions at bay or curb them? Is there a way theatre or performance can help us grapple with the underlying reasons for our initial reactions in a productive way?
• What value is there in claiming Otherness? How does context change whether one feels like an "insider" or an "outsider"?
• What is the role of story in the theatre and performance of cultures that are not our own? To what degree to differences in form or aesthetics keep us from fully understanding those performances?
• Who can speak for whom in theatre or performance? What are the complications of casting across lines of racial or national difference?
• What are some different dramaturgical or physical tools for "re-writing the canon?"
• Is colonization always a question in "intercultural" theatre, or can openness and respect for others be a goal of this kind of performance?
• What role does capitalism play in the exchange of different theatrical forms between nations throughout history? What role does violence play?
• What are questions of land/bodies/gender in these performances?

And in case you're curious, here's a similar list from this blog two years ago, for the sake of comparison and expanding the list:

• Do we study theatre from other countries or cultures out of an impulse to control or have power over its people? Or do we do so out of a desire for peace, harmony and love? And how do those issues -- power vs. love -- appear in the forms of performance we are studying?
• A related question: who defines "peace," and who does that idea of peace serve? Is conflict between cultures productive and important? How does drama, performance and theatre deal with conflict in productive ways in different cultures?
• How do we discover "sameness" in different cultures without disrespecting their right to difference? Is it possible to look for similarity and understanding without imposing our own perspectives on cultural expressions from other countries? If so, what do we have to do to step outside of our own preconceptions and biases?
• What was the stated intention of the ritual, performance or play initially? How did its meaning or people's perception of it change when the form moved into a different historical or cultural or economic context?
  
• Who is the audience for the performance, and how might that change its meaning?
  
• What is the role of violence in this culture's history? How does violence appear in its cultural expressions? Has violence influenced its ability to create art, theatre or performance freely and publicly, or played a part in the transport of the culture's beliefs and ideas elsewhere in the world?
• What about spirituality/religion? In its original context, is the form spiritual in nature? When and how did that meaning get lost? What happens to a culture's beliefs when they are studied outside of a certain community? Can people who don't share a culture's religious beliefs understand the meaning of ritual or creative expressions that arise from those beliefs?
• A related question: in plays, is spiritual content contained in a different form of performance? Or is secular content explored using a technique or form that was originally associated with religion?
  
• And what about commerce and economics? How has money affected the meaning and understanding of a cultural expression? How has it affected the ability of a community to create art or performance? Who profits from the creation or circulation of a work of art or form of expression? Conversely, are certain forms threatening to someone's economic gain, and who profits from the suppression of those artists or ways of working? (Or: are there certain elements of a form that are retained to make something profitable in commercial contexts, and others that are hidden or suppressed?)
  
• Does the form and content of the performance adopt a certain attitude toward assimilation? Does it resist being understandable by people outside of the community that produced it, or does it invite other people in?
  
• Since we are studying from the perspective of people brought up in The United States, what is "American" culture? And what is the history of people in diaspora and their presence in the United States? As Americans, what is our relationship to the cultures we are studying?
• In what language or languages was the performance originally written/performed? How and why does language seem important in the form?
  
• What do you relate to in other forms of cultural expression? And what seems impossible to understand? How do people deal with complicated, ambivalent responses to other cultures? Is it possible to learn and change one's response -- that is, can we develop empathy or understanding for the things we initially find confusing, disorienting or unappealing? Is there value in attempting to do that?
  
• How do people from other cultures perceive "outsiders"? How do we, as spectators, represent ourselves and our motives to people whose work we are viewing?
• How are our skills/techniques/goals as actors and theatre artists enhanced or challenged by contact with artists from other cultures, and vice versa?

And here are some comments on that post from former students:

"In response to some of Amy's questions, I had some thoughts. To the question, "Can we look for similarities in another culture without imposing our own?" I think not. To say that we're similar to something, we presume that we understand it, which is virtually impossible because, as someone else mentioned, we can't have any experience other than our own, no matter how thoroughly another is described to us. As to how a comparison could be made without imposing our own view, i dont know. Even to examine the differences between cultures, presumptions must be made. I guess if there were equal time spent studying/experiencing two cultures, maybe it could be done fairly. But even then, it seems like whichever culture was experienced first would influence perception of the second."

And also:

"What happens to a culture's beliefs when they are studied outside of a certain community? Can people who don't share a culture's religious beliefs understand the meaning of ritual or creative expressions that arise from those beliefs?

I think to an extent if a culture's beliefs are studied outside of the community they may be changed or not taken seriously, but if you are someone who is really interested in understanding a particular culture, a lot may come out of this experience. Something truthful and meaningful.

I think these cultures have to be very careful who they invite into their communities and cultures to participate in these rituals. I think that could be one of the most offensive things to a culture to not take a ritual serious or not understand what the heck you're doing and taking these experiences for a joke. I also feel like to an extent if I were to participate in a ritual experience I still wouldn't get the same experience that someone from that culture would. I would probably have my own creative expression from what I went through in my life, but I guess that brings up the question of: How do we go about trying to experience these cultural rituals through their eyes, if we can? Is it possible"

I'm sure there are many other questions to add as we go ...

So, here we go! I'm looking forward to an exciting semester of discussing these things. Please feel free to comment or send an email any time and join our conversation!

Is that DeAldon??? Posting on the blog???

Well, I know you guys thought that it would never come, but here it is, two blog posts in a row from yours truly!

This blog is centered around how the issue of representation was in effect in our own backyard this semester. And since this is a CLOSED BLOG...I can bring up the issue of The Adventures of a Black Girl in Search of God. During the rehearsal process, as I'm sure all of you know by now, there were major alterations made to the script. In fact, it was altered to the point that all of the participants in the show got new scripts about 2-3 weeks before opening. In altering the script, how can one be sure that the story that the playwright intended was represented accurately by the production? It brought to mind Peter Brooks and The Mahabarata, and Tadashi Suzuki's productions of Shakespeare and Chekov. They too made changes to their texts and generally made the texts into what they wanted it to be. What was so baffling was the fact that I'm only just now drawing the parallels between the person in charge of the play and the controversial names we've discussed this semester.

It seems that ultimately, as long as the person or persons being represented don't negatively comment against the representer that the message is what the representer says it is. In fact, even if there are negative comments from the person being represented, once the production has been seen by the public, the representation is there for the world to see, whether it is an accurate representation or not.

Therefore, the truth may lie in that which one chooses to represent, and how dedicated one is to fully representing that idea, intention, culture, mindset, etc. Conversely though, there is always more than one way to get to the same place, so the real issue may be discovering what is at the heart of what one chooses to represent, and deciding if that same message can be delivered through a different channel.

6,000 Flags: A Lingering Effect

The presentation of Eric, Janelle and Mary, 6,000 Flags, was to me the most brilliant way to handle such combustible subject matter. I found myself telling the details of their presentation to my family, my lady, and all of my friends. It sticks with me because I've been so well acquainted with racism throughout my life. I know the blazing inferno of blatant hate as well as the glacial chill of those who would rather ignore than listen. Their group embraced the negative stereotypes, turned them on their head, and allowed us to step out of ourselves and into a world that is very real, and very powerful.

It was also interesting to see the entire class react to the nametags that each person was given. It seemed that everyone in the class knew of a persona that was not only appropriate for the name, but moreover for the greater nature of the activity. The class transformed from acting students at a final, to mainly wealthy, greedy, bigots, eager to see their business succeed at any cost (although I guess with acting students I shouldn't be so surprised!). It was an overexaggerated, but clearly pointed satire directed at the very foundations of our society. It was also very brave, because the trouble with satire is, there are always people who are too ignorant to understand the punchline. I was happy to see my classmates play along, because it was clear that they understood what was going on.

The entire activity allowed me to rethink the bigotry within myself and brought about a new determination to erase that negativity from within me. I found myself becoming uncomfortable when the term "wetback" was used for the log ride. Then, I thought about all the names that black people had been called while we were being sold, and the truth of the situation rang all too close to home. This country was built on ridicule, forced labor, and deragatory names. Every new group that has integrated to this country has been labeled negatively by the majority.

I applaud the group for the bravery to put up such a risky show. It was well worth the effort, and it is a presentation that I will personally remember for years to come.

A Random Revelation

Being changed by the questions raised and posed by this course, I am driven to share my thoughts on a particular piece of literature. I recently read an excerpt from a book of poetry called The Collected Poems of Langston Hughes, a compilation of works from the great author, poet, and playwright. The poem that I read is called “Theme for English B.” It is a piece about Hughes’s reflection, through an experience, of who he is within American society. I chose to write a blog about this piece because it raises the question of racial and societal identity for minorities in America. It is a significant piece to me because it touches on issues that still affect minorities today, and helps to create a sense of awareness about how we define ourselves through our relationships with others, particularly within American culture.

This piece helped me to learn a great deal about the social identity of minorities in America. After reading this piece, I have realized that we all are the products of our environment. The bulk of who we are, or claim to be, is shaped by the very social interaction that we experience with others. America is synonymous with social integration; it is a melting pot of cultures, resulting in a macramé of American standards. What is American? If we are products of our social interactions, how do we define ourselves? Our culture? In my opinion, the individual is shaped not only by social interaction and environment, but life experience and internal morality. Although our society has the power to assimilate, I believe that it is not the society that defines the individual, but the individual who defines the society.

What is the Effect of Blending Cultures?: A Breakdown of Our Final Presentation

“What is the effect of blending cultures?” This was the question we came up with for our final presentation. At first I thought this question to be a bit broad and generalized, however when I started to build specifics around it in our performance presentation, it seemed to be a wonderful beginning and ending point for both our final and this course. I believe it works because we did not only focus on the aspects of world theatre in this course, but our world culture as a whole. The responsibility of the theatre artist is greatly and directly affected by blending of cultures, and much of our work is dependent upon representation of others. With this conclusion, the question was both appropriate and complex.
We wanted to add something from all three cultures as well as incorporate the blog entries, interviews, and play and cultural presentations. It proved to be a big job, however we tried to take a simple, abstract approach to help keep things clear, succinct, and organized. We also wanted to show how misrepresentation of cultural form and performance happens. I believe that the ethnic stereotypes that are satirized in No Saco are a prime example of what happens when cultures are blended together. I believe that it is important to try to exemplify some of the possible answers to the question that we posed, as well as pose new questions that help to break down the different issues that come along with blending cultures. I chose to do the piece of my interview from Marilyn Akindele because the questions that I asked her and her responses were directly related to the question that we posed about blending cultures, and also it contrasted to the scene from Valdez’s play; I thought it would be a good way to show that all people who are in America from other cultures do not have the same experience, and that unlike the children in the play, does not succumb to the pressures of American society to fit in or be accepted.
One of my goals for making the presentation booklet was to complement the imagery from Sarah's powerpoint, but also show the three cultures that we have studied side by side, emphasizing differences and simultaneously revealing similarities. Also, we worked very hard and very closely together as a group, and I wanted to find a way to unify our vision, and turn something in that could be seen and interpreted as a manifestation and further representation of our group concept and direction. I hope our vision was clear to all who got a chance to see it, and I truly feel as if it helped me to see representation of other cultures as a new responsibility.

Reflections

There are so many different concepts of theatre around the world it is impossible to define the art with one solid description. My perception of what theatre is has been shaped, dictated and manipulated by my social and cultural experience here in America, and has directly affected my choices as an artist. Now, having been exposed to different cultures, I am able to compare and contrast the similarities and differences between my theatre experience and background, and other cultures, traditions, and theatrical practices. Being in this class and learning so much about other cultures has really opened my eyes and changed my feelings about American culture, my own personal background, and how they are directly interconnected. I have had a huge revelation about how much more theatre there is out there in the world, and how much more there is to learn. I also think one of the biggest lessons that I have grasped is that I really don’t know myself as well as I thought I did. Just reviewing my background and experiences, it seems like such a sheltered and selfish experience, it’s a wonder how I ever got this far. I have definitely learned to make my own standards, and not to pass judgment on others’ cultural standards, norms, or traditions. Theatre is a standard in itself; and with all its possibilities, it is an ever-changing, always evolving craft. "Whether it is the Follies on Broadway, the rigidity of Noh Theatre, or the sacredness of Yoruba tradition, I believe that as long as we are taking the steps to understand one another’s culture, theatre can be the chain that keeps us linked together in stride."