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Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Street theater is historically a form of political performance art used to foster social change and is characterized by unscheduled performances in public spaces, interactive audience participation, and short performances often repeated in the same spot for passersby. Long used as a creative tool within social movements, street skits not only entertain but are used to educate and build awareness on pressing issues. It is an art form for the people, by the people, making theater available for all ("on the streets") rather than solely for those who can afford it. Street theater also has its uses in public health education and organizing and has been used globally as an effective method of health promotion, especially in rural and low-literacy areas. This paper looks at a street theater project that university students at Clark University in Worcester, MA participated in as part of a "Health Rights: Advocacy and Action" course. Students were tasked with developing a street theater skit that educates on a public health issue and publicly perform the skit on campus. Three skits were produced: (1) "Deadly Derailment": raised awareness on industry deregulation and the 2023 toxic chemical spill in East Palestine, OH; (2) "Harm Reduction Saves Lives": addressed humane and non-victim blaming ways to address substance use; and (3) "End the STIgma": educated on sexual health on a college campus. Teaching street theater as part of public health pedagogy is a creative approach to inspire students to use their voices and link health promotion and activism. [ABSTRACT FROM AUTHOR]

This article studies the artistry of Los Diablos Rojos de Víctor Jara, a dance-music troupe formed in 2009 to pay homage to the singer-songwriter on the day of his funeral. Since then, the troupe has participated in annual events commemorating the detained and killed by the military dictatorship and sporadically in other social manifestations. Our first objective is to explain the appropriation and transformation the troupe makes of the “loose devil,” a character of the La Tirana festival. We consider aspects such as clothing, choreography, musical repertory, and gender roles. The second objective is to analyze their performance's choreographic and musical elements. Unlike approaches to these kinds of performances from the social sciences, which often study them as acts of memorialization or social activism, our goal, as arts researchers, is to highlight that the people behind the troupe are professional artists with artistic motivations, preoccupations, and objectives. To underscore this aspect, we analyze seven songs by Víctor Jara that constitute part of the troupe’s dance-music repertoire.

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the winter of 2020, the Jana Natya Manch (People's Theatre Front), a political performance group and street-theatre pioneer in India, created a new kind of performance in response to current events. The Hindu-nationalist government was then implementing discriminatory laws targeting Muslims. The very constitution of India, a 'sovereign, socialist, secular, democratic republic' (Constitution Preamble) was under threat. Instead of a conventional street play, the Jana Natya Manch set up a participatory 'game' or 'interactive presentation' that brought together random and diverse audiences to act, or play, as a united people. The group put into place an inclusive experiment, rather than a didactic one, to counter exclusionary rules and address democratic deficits. Thus this Indian 'people's theatre' produced 'democratic performances' that questioned both artistic and political representations. This article, based on fieldwork with the Jana Natya Manch, offers a script translation and an analysis of a new kind of performance developed in active circumstances. [ABSTRACT FROM AUTHOR]

This article presents the living statues method as a prime medium in expressive art therapy and particularly in drama therapy. It describes the method, its specific characteristics and their meaning, and shows how a public performance can be a space for a creative, art-based, therapeutic process. Two vignettes from practice illustrate how the living statues method can be applied to work with teenagers with behavioral problems and the elderly. It also highlights the relationships between this nonverbal, creative, "body–mind–spirit" performance-oriented method and humanistic psychology. [ABSTRACT FROM AUTHOR]

Copyright of Religación: Revista de Ciencias Sociales y Humanidades is the property of Religacion: Revista de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Labor & Engenho is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work reviews the International Bakhtin Theoretical and Practical Conference “Street theatre vs. the theatre of military actions” held in Moscow in 2019. A review of the collection of articles based on the materials of this conference is given.

In 2021, the International Festival of Street Theatre in Aurillac, France, was cancelled for the second consecutive summer. Amidst the ensuing furore, street theatre artists and their advocates risked conflating public health measures with the oppressive policies of the security state. This essay critically examines the underlying assumptions at work in these arguments and insists on the importance of public health to the defence of public space. [ABSTRACT FROM AUTHOR]

Young Dalit men and women are changing the narrative of casteist oppression in India. Youth activists perform protest songs in the genre of rap and gaana, using elements of slam poetry and rap from African American artists and blending them with local musical innovations. The performances have deliberate messaging, signaling particular caste and gender injustices, both current and historical. This paper will analyze Dalit youth performances of rap, gaana, and street theater (koothu) in South India, particularly in Tamil Nadu, to understand the poetics of protest against caste and gender oppression. It will look at the notion of space in these performances. Since social space has historically been restricted for marginalized groups such as Dalits, and even private space has never existed for Dalits, more so for women, the performance space-the screen, the theatre, or street-becomes a heterotopia, or a third space for voicing injustice through song. Taboos are tossed aside in this space; transgressive, private-public fused in-your-face musical phrasings appear on every audio and visual device through the globalization of the internet. Rap and gaana queer accepted caste and gender narratives. This paper will look at youth rappers, such as Arivu, the latest sensation, gaana performer, Isaivani's performances, as well as "The Casteless Collective" and inquire into the reasons for their appeal despite their iconoclasm. Affect is another area of inquiry in the analysis of Dalit performance, since caste and gender oppression meant invisibilizing Dalits and not seeing them as humans with emotions. Examining the value of affect within performances as well as its effect on audiences is important, since both coalesce to make historically restricted speech appealing and far-reaching in effecting change. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Street plays are a popular traditional medium of communication and entertainment in India. The objective of this paper is to communicate our experience about using street plays to raise awareness about children's eye health in a South Indian setting. Based on our experience of the prevailing misconceptions about children's eye health in our community, we selected some topics and prepared a blueprint of the scripts. We hired professional troupes who further refined these scripts into traditional street play scenarios by adding traditional songs, humor, and dialogues in the local dialect, leaving adequate room for improvisation during actual play. After a few rehearsals, we finalized the actual plays. Then, these were enacted in different parts of the city on different occasions, over a span of 3 years. In this descriptive paper, we share our experience of this exercise so that others may try and replicate this initiative in their areas. We found that the street plays were well attended by the people indicating the popularity of this medium in local communities. At the end of the street plays, a sample audience was interviewed about what they understood from the sessions, and most of them could reproduce the key messages. We found that instead of training our own staff, hiring a professional troupe was a more practical choice. Overall, it was a fruitful exercise in terms of the number of people that our plays reached out to effectively. Thus street play is an effective and popular means of disseminating eye health messages in our communities.

Cultural Anthropophagy, an artistic approach that originated in Brazil, takes cannibalism as a metaphor for consuming what is useful from the colonizer's culture and using it to make new, self-affirming art. Because of its emphasis on the artist's autonomy, Cultural Anthropophagy provides a useful framework for reading Latin American Shakespeare productions without casting the practitioners as the subaltern. Cultural Anthropophagy makes space to see the cultural and political impact of Latin American Shakespeare performance when practitioners engage anthropophagically with Shakespeare. This article analyzes a 1987 street performance of Romeo y Julieta by Chilean theater troupe La Compañía Escuela Teatro "Q" in Santiago, Chile. I argue that Teatro "Q's" production—which used Pablo Neruda's 1964 translation of Romeo and Juliet —is an example of a dual-level process of Cultural Anthropophagy. Neruda's translation was itself anthropophagic and enabled Teatro "Q" to produce an adaptation of Romeo y Julieta that viewers recognized as distinctively Chilean, and which drew on community participation to enact a process of empowerment at a time when a repressive regime offered few outlets for the popular voice. Reading Latin American Shakespeare performance through Cultural Anthropophagy centers the process and outcomes of practitioners' work while destabilizing the dominance of Shakespeare. [ABSTRACT FROM AUTHOR]

Analisam-se as práticas, narrativas e aspectos culturais da Companhia Teatral Arte Viva (Santa Cruz, Rio Grande do Norte, Brasil) no âmbito comunicacional e midiático. O relato ressalta as suas características representativas e a interação social entre a companhia e o público, bem como evidencia a observação de um fenômeno original: a expressão e resistência dos teatristas em associação à sua contextualização folkmidiática ao abordar a teatralidade que ocupa o espaço público e demonstra, em sua essência, a vocação.

This study is an attempt to explore and analyze Mire-Nowrouzi play as a form of resistance based on Mikhail Bakhtin’s concept of Carnival. For this purpose, in addition to explaining Bakhtin's ideas about the construction of the concept of carnival and referring to such concepts as polyphony, laughter, the grotesque body, and action philosophy the formation and representation of these concepts in Mire-Nowrouzi were investigated. The results of the study showed that these concepts have a significant role in giving identity to this social and political play and it can be considered as a form of carnival with both social and political functions. Each actor-audience in the play can influence or be influenced by other characters simultaneously. It means that everyone can hear the voices of others, and each character, inevitably, forms other characters. In the play of Mire-Nowrouzi, participants are seen as a whole with the ability to resist and change their and other’s status. This influence is interpreted based on Bakhtin’s concepts.

Copyright of DAPesquisa is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the modes of cultural organisation that facilitate the Right-wing's appropriation of historically Left-wing theatre practices such as the Street-theatre in New Delhi in the service of percolating Hindu-nationalism. The paper suggests that a thorough understanding of the organisation behind the creative methods for mobilisation employed by the Right-wing is indispensable if strategies of resisting co-option and building an effective opposition have to be conceived. [ABSTRACT FROM AUTHOR]

Copyright of Runa: Archivo para las Ciencias del Hombre is the property of Runa: Archivo para las Ciencias del Hombre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Street plays are a popular traditional medium of communication and entertainment in India. The objective of this paper is to communicate our experience about using street plays to raise awareness about children's eye health in a South Indian setting. Based on our experience of the prevailing misconceptions about children's eye health in our community, we selected some topics and prepared a blueprint of the scripts. We hired professional troupes who further refined these scripts into traditional street play scenarios by adding traditional songs, humor, and dialogues in the local dialect, leaving adequate room for improvisation during actual play. After a few rehearsals, we finalized the actual plays. Then, these were enacted in different parts of the city on different occasions, over a span of 3 years. In this descriptive paper, we share our experience of this exercise so that others may try and replicate this initiative in their areas. We found that the street plays were well attended by the people indicating the popularity of this medium in local communities. At the end of the street plays, a sample audience was interviewed about what they understood from the sessions, and most of them could reproduce the key messages. We found that instead of training our own staff, hiring a professional troupe was a more practical choice. Overall, it was a fruitful exercise in terms of the number of people that our plays reached out to effectively. Thus street play is an effective and popular means of disseminating eye health messages in our communities. [ABSTRACT FROM AUTHOR]

The article considers the problem of transferring the specifics of carnival laughter in media space on the example of contemporary street theatre. The author believes that if the carnival culture, which has formed in Europe, today passes the natural stage of the transformation in to the humor and irony, the Russian carnival culture, part of which is the street theater, not yet fully formed, was forcibly immersed in the digital era in which there is a rapid modification of the laugh element. Attention is drawn to the increasing interest of science in studying the specifics of human dialogue and humor in internet communication. The article argues that those street theatres, which have a strong carnival formed the core, maintain the greatest independence from the capabilities of internet communication, despite the active use of all modern media properties (replication, diachrony, simultaneity, multiplying, etc.). As a confirmation of this thesis, the attentions is drawn on the three forms of street theatrical culture: the street theater (Theater-Ex); the street theater festival ("Burning Man"); the scientific-educational projects in the field of street theatrical culture (V. Polunin's "Fools on the Volga", "Caravan of the world"; "Village theater" of Theatre-Ex). Rap battle is given as an example of carnival square, which was originally reduced in the media space, and which, in comparison with street theater, in some of its forms (humor, irony, satire), sounds quite loud. In conclusion, it is concluded that spontaneous carnival laughter in rap battles and in street theater, unlike humor and irony, easily reproduced in the media, can not be imitated. This, in turn, is proof that the carnival laughter is maximally opposed to attempts to deprive him of his bodily existence. The author relies on M. M. Bakhtin's positions on reduced forms of carnival laughter; on A. G. Kozintsev and V. B. Shklovsky's theoretical positions on the humorous nature of parody; on B. F. Porshnev's theory of brake dominant. В настоящей статье рассматривается проблема перенесения специфики карнавального смеха в современное медиапространство, раскрываемая на примере современного уличного театра. Автор считает, что если карнавальная культура, сформировавшаяся в Европе, сегодня проходит естественную стадию распада на юмор и иронию, то российская карнавальная культура, частью которой является уличный театр, ещё не до конца сформировавшись, оказалась погружена в цифровую эпоху, в которой наблюдается стремительное видоизменение смеховой стихии. Обращается внимание на всё более увеличивающийся интерес науки к изучению специфики человеческого диалога и юмора в интернет-коммуникации. В статье утверждается, что те уличные театры, которые имеют устойчивое карнавальное ядро, сохраняют наибольшую независимость от возможностей интернет-коммуникации, несмотря на активное использование ими всех современных свойств медиа (репликации, диахронии, симультанности, мультиплицирования и др.). В качестве подтверждения этого тезиса рассматриваются три формы уличной театральной культуры: уличный театр (Театр-Экс); фестиваль уличных театров (фестиваль Burning Man); различные научно-просветительские проекты в области развития уличной театральной культуры (проекты В. Полунина «Дураки на Волге», «Караван мира»; проект Театра-Экс «Деревенский театр»). Рэп-баттл приводится в качестве примера изначально редуцированной в медиапространстве карнавальной площади, которая, по сравнению с уличным театром, в отдельных своих формах (юморе, иронии, сатире), звучит довольно громко. В заключении делается вывод о том, что спонтанный карнавальный смех в рэп-баттлах и в уличном театре, в отличие от юмора и иронии, легко воспроизводимых в медиапространстве, невозможно имитировать. Это, в свою очередь, является доказательством того, что карнавальный смех максимально сопротивляется попыткам лишить его телесного бытования. Автор опирается на позиции М. М. Бахтина о редуцированных формах карнавального смеха; на теоретические позиции А.Г. Козинцева и В. Б. Шкловского о юмористической природе пародии; на теорию Б.Ф. Поршнева о тормозной доминанте.

Copyright of Sociología Histórica is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the implementation by French President Franc¸ois Hollande of an state of emergency from 2015 to 2017 due to terrorist attacks and its impact on France's contemporary street theatre. Also cited are the mutation of the emergency into a generalised state of exception as a reconfiguration of space and time, as well as the securitisation, privatisation, and marketization of public space.

Copyright of Revista Internacional de Folkcomunicação is the property of Rede Folkcom Rede de Estudos e Pesquisas em Folkcomunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How do cities determine who has the right to station themselves in iconic public spaces? This article explores this question by analyzing the evolution of Barcelona's approach to regulating street performance, with a particular focus on regulations pertaining to 'living statues'. Although most buskers have been expelled from the Ramblas, one of the city's most emblematic walkways, living statues remain permitted on the promenade. This, I argue, is due to the general embrace of statues as part of local tradition and their integration within city‐branding campaigns, as well as their own organizing and boundary work. As the image Barcelona seeks to cultivate has changed, however, the right of statues to station themselves in public space has become ever more tenuous. My findings speak to broader questions regarding how cities determine the boundaries of 'urban desirability', as well as why and how such boundaries change over time. They also elucidate the strategies that groups located at the margins employ in attempting to position themselves favorably in relation to such boundaries. More generally, they highlight how current approaches to analyzing urban inclusion and exclusion may benefit from a more sustained engagement with the burgeoning social scientific literature on symbolic boundaries. [ABSTRACT FROM AUTHOR]

Shaped by a host of antecedent factors, the Umbrella Movement in 2014 gave rise to a new political consciousness in Hong Kong's civil society. The term "Umbrella Generation" has been widely used in the wake of the political struggle. This article takes the movement as a pivotal case study of the formation of a new political generation through the intersection of sociodemographic, political, and cultural changes. This entailed not only antistate opposition by citizens of that generation but also a process of generational change mediated by various contending forces. Considering both inter- and intragenerational dynamics, this article integrates the insights of generational theory with a cultural analysis of discourse and dramaturgy—the umbrella protests as street theater—as well as a political analysis of agency, conflict, and leadership shifts. [ABSTRACT FROM AUTHOR]

Copyright of Pitágoras 500 is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay serves as both an introduction to the themed section and a provocation regarding a possible agenda for the anthropology of history in Pakistan. It considers the implications of Faisal Devji's argument that unity in Pakistan was originally pursued through a rejection of history, suggesting that attempts to identify an inheritance—to articulate the form and nature of a responsibility to the past—have proved intellectually and politically productive following the country's establishment in 1947 and its further rupture in 1971. It considers how Pakistan's unsettled relationship to the past is mediated through architecture—as professional practice, as physical object, but also as metaphor for thought. Arguing that public history projects in the country evince a "will to architecture"—the desire to erect a stable edifice in the face of a vertiginous historicity—it then explores heritage-making practices that manage to challenge or subvert this compulsion to foundation. [ABSTRACT FROM AUTHOR]

Amateur performances of pop classics take place daily in various public spots in Wuhan, China. Audience members reward singers with cash tips; these practices are bound up in personal relationships established as the two parties socialise at and away from the events. Building on Goffmanian notions of frame shifting, I explore how performance, everyday, and ethical realms of experience intersect during these occasions. Boundaries between performance and everyday frames are indistinct in a physical sense and in how participants relate to each other. This in turn feeds into the integration of the performances in participants' ethical lives. Rather than a shifting between these three frames, I see mutual permeability as the basis for the sociality here. [ABSTRACT FROM AUTHOR]

In this article, the author explores street performers in Ireland by humanizing them in order to tell a three-dimensional story rather than treating them as two dimensional symbols. It focuses on social performances of musicians and audiences and is therefore less about the state of music in Ireland than about the spaces that musicians create at the margins of the Irish state specifically, on the street. It mentions information on ethnographic research conducted with buskers in Ireland.

An introduction to the journal is presented in which the editor discusses the various articles published within the issue on topics like street theatre, refugee theater, and Leigh Bowery's narcissism.

The article offers a critique of performances by the street theater group Jana Natya Manch (Janam) in Delhi, India. It provides an analysis of the group's political activism and its engagement with the city's spatial history. The work of Janam has been influenced by issues such as caste, sex and gender. The impact of playwright and director Safdar Hashmi's murder in 1989 on the question of democratization of the city's public spaces is discussed.

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Between the late first and the mid-third century CE, local elites in the eastern provinces of the Roman Empire lined the formerly utilitarian streets of their cities with honorific statues, colonnades, and ornamental buildings. The monumental avenues thus created have usually been interpreted as unplanned products of competitive munificence. This article, by contrast, suggests that the new streets had real political significance. It compares the monumental avenues of Roman Ephesus with a formal analogue from a better-documented historical context: the long, colonnaded courtyard of Florence's Uffizi complex, constructed by Duke Cosimo I in the mid-sixteenth century. Comparison with the Uffizi courtyard illuminates the prominence of "democratic" architectural conventions in Ephesian monumental avenues, the elite-centric vision of civic history implicit in their sculptural displays, and the degree to which public ceremonies reinforced their political messages. [ABSTRACT FROM AUTHOR]

After Egypt's 2011 uprising was quashed, independent dramatists worked to revive utopian revolutionary communities through public performance. This essay analyzes the arts festival Art is an Open Square (2012), and a clown show for refugees by Cairo's Red Tomato troupe (2014), as attempts at everyday utopia. When public activism was banned, these performances in streets and squares adapted quotidian repertoires of festivity and hospitality to stage heterogeneous publics. Analyzing the performances as attempts at activating the utopian within the quotidian, I evaluate the efficacy of such minor scenarios of revolutionary citizenship, devised to sustain hope in oppressive times. [ABSTRACT FROM AUTHOR]