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Abstract
ABSTRACT In this article, I engage with aesthetic experience as a central hermeneutic endeavour for theorising performing arts audiences in the Arab region. I argue that a critical engagement with Arab performing arts audiencesâ aesthetic experiences necessitates both an archaeological manoeuver and a re-articulation of two keywords: âexperienceâ and âeverydayâ. The article advances, using evidence from research, that allowing the audiences of performing arts in the Arab region to speak may be a step towards democratising the triangular meaning making process among the performer, the audience, and the art institution, and a means towards dislocating, if not liberating, the categoriesâ Arab culture, art, performance, and experience, from their teleological articulations.
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