Abstract
In 2017 the Scottish Refugee Council and Tramway embarked on a collaborative participatory arts project seeking to explore the upsurge in media coverage around issues of migration. Share My Table took a multi-artform approach, with performance and visual art providing the foundation for the exploration. This article, written from the position of artist researcher, shifts the lens away from the artistic or performance outputs of this participatory project, and instead reflects and theorises the working practices which emerged throughout the Share My Table project. By drawing on bell hooksâs work on practices of freedom (1994), and James Thompsonâs call for a re-focusing towards affect, beauty and care (2011, 2015), the author argues for participatory practiceâs radical potential. Ultimately, the how of participatory work, the careful and ethical attention on the doing can activate solidarity in relation to the asylum regime.
Highlights
CATRIN EVANSThe Scottish Journal of Performance Volume 6, Issue 1; July 2019 ISSN: 2054-1953 (Print) / ISSN: 2054-1961 (Online)
Introduction and critical contextIn February 2017, the Scottish Refugee Council and Tramway opened the doors to the first gathering of their latest partnership: We invite you to join Share My Table—a diverse group of people living in Glasgow looking to creatively respond to the recent media attention surrounding migration
In 2017 the Scottish Refugee Council and Tramway embarked on a collaborative participatory arts project seeking to explore the upsurge in media coverage around issues of migration
Summary
The Scottish Journal of Performance Volume 6, Issue 1; July 2019 ISSN: 2054-1953 (Print) / ISSN: 2054-1961 (Online). The practice of solidarity through the arts: inter-relations and shared moments of creation in Share My Table. In 2017 the Scottish Refugee Council and Tramway embarked on a collaborative participatory arts project seeking to explore the upsurge in media coverage around issues of migration. Share My Table took a multi-artform approach, with performance and visual art providing the foundation for the exploration. This article, written from the position of artist researcher, shifts the lens away from the artistic or performance outputs of this participatory project, and instead reflects and theorises the working practices which emerged throughout the Share My Table project. By drawing on bell hooks’s work on practices of freedom (1994), and James Thompson’s call for a refocusing towards affect, beauty and care (2011, 2015), the author argues for participatory practice’s radical potential. What Do You See?: our large-scale intervention invited audiences to look beyond media headlines and images to consider who is the author, who is the subject, and why? Photo: Najma Abukar
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