Abstract
This article is about the participatory performance event Speak for yourself (Snakk for deg sjøl) performed mainly for teenagers at schools through the Norwegian Cultural Schoolbag program (Den kulturelle skolesekken), but also for an open audience at Hålogaland Theatre and the Arctic Arts Festival. The center of the discussion concerns what has agency to initiate various ways of participation and produce a zone of potential in this performance event. The author is one of the artists of the performance and thus the diffractive analysis is informed by her role as artist-researcher. The study’s theoretical framework is inspired by the theory of agential realism from physician and feminist theorist Karen Barad.
 The analysis suggests that the initiation of participation is a complex process influenced by both human and non-human performative agents in intra-action with each other. This study will especially focus on the formulation of exercises, performance objects, social media, multiplicity and affect t as performative agents in this performance event. The study indicates that being attentive to the performative agents at play and the kind of participation they produce can potentially create a space where there is room for inclusion, diversity, and unpredictability. This kind of zone of potential also has value for other participatory projects in the intersection between pedagogy and art.
Highlights
The gazes from the empty chairs dig into my spine the moment I enter the room
I discuss what needs to be considered by artists, teachers and others who wish to facilitate inclusive situations that allow for a zone of potential
It was performed at the Arctic Arts Festival in Northern Norway, as well as at schools in the counties of Troms and Finnmark in 2016 and 2017 through the Cultural Schoolbag
Summary
The gazes from the empty chairs dig into my spine the moment I enter the room. The bookshelves with many hundreds of pages stand there, covered in dust. In this article, using Speak for yourself as material, my aim is to discuss what initiates and produces participation in performing arts, and how this can create a zone of potential. This study is situated in debates about participatory and socially engaged arts, as well as at the intersection between pedagogy and the arts, and a new materialist understanding of practice Using this perspective, I discuss what needs to be considered by artists, teachers and others who wish to facilitate inclusive situations that allow for a zone of potential. The present study is in line with the notion that both artistic and pedagogical competence are needed, as addressed by Lisa Nagel and Lise Hovik (2014) These researchers have carried out studies of participation in children’s performances in particular, and they have discussed what is required to produce deep participation, where the participants are dedicated to the experience.
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
