2018-19

Wednesday 05 December 2018

 NO QUORUM THIS WEEK

The final Quorum session for Semester 1, which was originally scheduled for Wednesday 05 December, has unfortunately been cancelled.

However, we will be returning in Semester 2 with an exciting line-up!

 

Quorum Semester 2 Schedule:

16 January 2019 – Dr. Amit Rai (QMUL)

30 January 2019 – Prof. Alan Read (King’s College)

13 February 2019 – Dr. Laura Cull Ó Maoilearca (University of Surrey)

13 March 2019 – Dr. Alison Jeffers (University of Manchester)

27 March 2019 – Dr. Cristina Delgado-Garcia (University of Glasgow)

 

We look forward to seeing you all in 2019!

Quorum Links:

Twitter

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Blog

 

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 21st November 2018

Sola poster pdf edit-page-001

Abstract:

Post-dramatic theatre from Africa, especially in the works of Nigerian playwright Femi Osofisan, has been framed within the African heritage of storytelling, songs, music, folktales, history and myth. Osofisan directly transposes Yoruba performance culture to his drama, in particular his re-reading of Shakespeare, whilst incorporating the ancestral masking heritage of egungun and a legacy of keening and poetry to re-engage his audience with the “authentic” Africa in performance. This seminar explores the issue of “authenticity” in recuperating traditional performance culture and using the narratives to translate and adapt Western literature. It locates the interrogation of the postcolony in the dramatic interpretation that questions the encounter between the African orature and Western literature.

 

Biography:

Sola Adeyemi lectures at the department of Theatre and Performance, Goldsmiths University of London, where he is the Programme Director for MA World Theatre. His areas of specialisation includes African Theatre and Performance, Performance Studies and Culture and Performance. Sola is the Editor of Opon Ifa Review Literary Journal and the Reviews Editor of African Theatre.

Wednesday 21 November 2018, 18.00

RR2 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

 

Facebook event

Twitter

Facebook

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

 

Wednesday 24th October 2018

**PLEASE NOTE THAT THE VENUE HAS CHANGED TO REHEARSAL ROOM TWO, ARTS ONE, MILE END CAMPUS**

Quorum 2018 and 19_Semester 1_Yvette Hutchison Poster (1)

 

 Abstract:

In this paper I set out to analyse and compare online and live networking, as spaces for artistic and critical engagement both within Africa and beyond, drawing from the research I have conducted through the African Womens’ Playwright Network from 2015 to the present. It will explore the contexts, benefits, limits and potentialities of technologies in shaping creative and professional networks, particularly for researchers wanting to move away from static or macro approaches to understanding so-called ‘African’ identities and transcend the beleaguered discourses of ‘gender and development’ or ‘empowerment’. In this analysis I particularly reflect on the impact of using Linda Tuhiwai Smith’s approach to decolonising indigenous research methodologies when creating a cross-cultural network. Finally, I compare the efficacy of the different platforms and reflect on my learning specifically and more generally regarding the use of on and off-line spaces for network building.

[1] With thanks to Steve Ranford, Warwick IT for technical advice and help with data collection and analysis.

Biography:

Yvette Hutchison is a South African academic and theatre maker, who is a Reader in the Department of Theatre & Performance Studies at the University of Warwick, UK. Her research focuses on Anglophone African theatre, history and narratives of memory, and how intercultural performance practices are challenged by ongoing postcolonial issues. She is associate editor of the South African Theatre Journal and the African Theatre series and has co-edited books with Kole Omotoso and Eckhard Breitinger. Her monograph, South African Performance and Archives of Memory, was published by Manchester University Press in 2013. She has most recently co-edited African Theatre: Contemporary Dance (James Currey, Nov 2018) with Chukwuma Okoye. She has created physical theatre, installation pieces and written theatre for young people.

 

 Wednesday 24 October 2018, 18.00

Rehearsal Room Two, Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

 

Facebook event: https://www.facebook.com/events/521916174901955/

 Twitter: https://twitter.com/QuorumQMUL

Facebook: https://www.facebook.com/QuorumQMUL/

 

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 10th October 2018

Quorum 2018 and 19_Semester 1_Dominic Johnson Poster

Anne  Bean, Imposters (1971), action with Natasha Lawrence and Malcolm Jones in reaction to the East London Exhibition at Whitechapel Gallery, London. Photo: Martin Von Haselberg.

 

Abstract:

The work of contemporary artist Anne Bean defies categorisation, encompassing performance art, public interventions, videos, and writings, all pursued as a ‘continuum’. Dominic Johnson explores Bean’s ‘life art’ project in the 1970s and considers her efforts to blur the boundaries between art and life in the context of theoretical writings she was working through at the time. This entails a strange or perilous route through the performances of Anne Bean, beginning with the assimilation of her works into a continuum that also includes her life, taking in the theosophy of early 20th-century mystic G. I. Gurdjieff and the (dubious?) critical methods of magic and the occult, and ending up at the persistence of Bean’s refusal to be fixed or found by history.

Biography:

Dominic Johnson is a Reader in Performance and Visual Culture in the Department of Drama, at Queen Mary University of London. He researches and writes about performance art, live art and visual art after 1960. He is the author of Glorious Catastrophe: Jack Smith, Performance and Visual Culture (2012); Theatre & the Visual (2012); The Art of Living: An Oral History of Performance Art (2015); and a new monograph, Unlimited Action: The Performance of Extremity in the 1970s (forthcoming from Manchester University Press in December 2018). He is the editor of five books, including most recently Pleading in the Blood: The Art and Performances of Ron Athey (2013); and (with Deirdre Heddon) It’s All Allowed: The Performances of Adrian Howells (2016). From 2005 to 2012, his performances were shown around the world, in festivals, galleries, museums, theatres and clubs, a commune, a dungeon, and a desert, in Copenhagen, Death Valley, Ljubljana, Maxéville, Rome, Toronto, Vienna, Zagreb, and elsewhere, and throughout the United Kingdom, including notably at National Portrait Gallery in London as part of ‘Gay Icons’. He is a Co-Editor of the journal Contemporary Theatre Review, a Co-Editor (with Lois Keidan and CJ Mitchell) of the book series Intellect Live, and a Director of the Live Art Development Agency.

 

Wednesday 10 October 2018, 18.00

Rehearsal Room 2, Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

 

Facebook event: https://www.facebook.com/events/1849831325136335/

 Twitter: https://twitter.com/QuorumQMUL

Facebook: https://www.facebook.com/QuorumQMUL/

 

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

 

Wednesday 3rd October 2018

For 2018-19 the committee are:

  • Vanessa MacAulay
  • Genna Gardini
  • Sarah Harper
  • Tatjana Kijaniza
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