Conference E-Proceedings ϳZ<dKE& Z E ͳWZK /E'^͗d, dZ ͕ h>dhZ>/s Z^/dzE/E>h^/KE
2-3 November 2012 La Trobe University Bundoora (Melbourne)
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ANKE MACLEAN tĞďĞŐŝŶǁŝƚŚĂŝƌĐůĞ ϱϵ INTRODUCTION
Rand T. Hazou WKHFRQÀVFDWLRQRI SULYDWHODQGDQGWKHIRUFLEOH WUDQVIHURI SHRSOH+XPDQULJKWVQRUPVDUH Hannah Schürholz OLNHZLVHYLRODWHGSDUWLFXODUO\WKRVHDIÀUPLQJ IUHHGRPRIPRYHPHQWWKHULJKWWRIDPLO\OLIHDQG CHALLENGING EXCLUSION WKHULJKWWRHGXFDWLRQDQGKHDOWKFDUH 81+&5
5HDGHUVRI%DQN\·VZHEVLWHZHUHUHPLQGHGWKDWWKH ,VUDHOL6HSDUDWLRQ:DOOZDVFRQGHPQHGDV¶LOOHJDO XQGHULQWHUQDWLRQDOODZ· -RQHV ,QGHHGRQ -XO\WKHVHSDUDWLRQZDOODQGWKHRQJRLQJ he image that graces the cover of this ,VUDHOLVHWWOHPHQWVEXLOWRQRFFXSLHG3DOHVWLQLDQ Conference Proceedings and which was ODQGZHUHFRQGHPQHGDVLOOHJDOE\WKH,QWHUQDWLRQDO Tused in publicity for The 7arakat Conference &RXUWRI-XVWLFH ,&- $EX/DEDQDQG%DNDQ LVDSKRWRJUDSKRI DJUDIÀWLDUWZRUNHQWLWOHG¶7KH 2SSRVLWLRQWRWKHVHSDUDWLRQZDOOZDVRQHRI Floating Balloon Girl’ created by the UK street artist WKHIHDWXUHVRIWKH,VUDHOLRFFXSDWLRQWKDWKHOSHG %DQNV\,Q$XJXVW%DQNV\WUDYHOOHGWRWKH galvanise efforts behind the establishment of the Occupied Palestinian territories where he painted %R\FRWW'LYHVWPHQWDQG6DQFWLRQV %'6 FDPSDLJQ QLQHLPDJHVRQWKH,VUDHOLVHSDUDWLRQZDOOWKDWGLYLGHV ,QVSLUHGE\WKHDQWLDSDUWKHLGVWUXJJOHLQ6RXWK ,VUDHOIURPWKH:HVW%DQN7KH,VUDHOLDXWKRULWLHV $IULFD%'6DGRSWHGDULJKWVEDVHGDQGQRQYLROHQW MXVWLÀHGFRQVWUXFWLRQRIWKHVHSDUDWLRQZDOOZKLFK DSSURDFKWRSUHVVXUHWKH,VUDHOLVWDWHWRFRPSO\ZLWK LVFRQQHFWHGE\DV\VWHPRIREVHUYDWLRQWRZHUVDVD international law and respect the rights of Palestinians security measure to prevent would-be suicide bombers by: ending its occupation and colonisation of all IURPHQWHULQJ,VUDHO+RZHYHUWKHZDOOSHQHWUDWHV $UDEODQGV RFFXSLHGLQ DQGGLVPDQWOLQJWKH GHHSLQWRDUHDVEH\RQGWKHERUGHUVRIWKH¶*UHHQ ZDOO UHFRJQLVLQJWKHIXQGDPHQWDOULJKWVRIWKH$UDE /LQH·DQQH[LQJ3DOHVWLQLDQODQGGHQ\LQJ3DOHVWLQLDQ 3DOHVWLQLDQFLWL]HQVRI,VUDHOWRIXOOHTXDOLW\ UHVSHFWLQJ farmers access to fruit orchards and olive groves protecting and promoting the rights of Palestinian and severely restricting the rights of movement of UHIXJHHVWRUHWXUQWRWKHLUKRPHVDQGSURSHUWLHVDV 1 ORFDO3DOHVWLQLDQV ,Q6SHFLDO5DSSRUWHXUWRWKH VWLSXODWHGLQ815HVROXWLRQV The implications 81&RPPLVVLRQRQ+XPDQ5LJKWV3URIHVVRU-RKQ RI %'6RQFXOWXUDOH[FKDQJHDQGSURGXFWLRQDUH 'XJDUGUHSRUWHGWKDWWKHFRQVWUXFWLRQRI WKHPDVVLYH WDNHQXSE\6DPDK6DEDZLD3DOHVWLQLDQ$XVWUDOLDQ separation wall: SOD\ZULJKWDQGDFWLYLVWLQKHUSDSHU¶([SORULQJWKH &XOWXUDO%R\FRWWRI ,VUDHO·6DEDZLH[DPLQHVWKHUROH … violates important norms of international KXPDQLWDULDQODZSURKLELWLQJWKHDQQH[DWLRQRI RFFXSLHGWHUULWRU\WKHHVWDEOLVKPHQWRIVHWWOHPHQWV 7KH81*HQHUDO$VVHPEO\VHWIRUWKWKHOHJDOIUDPHZRUN IRUUHVROYLQJWKH3DOHVWLQLDQUHIXJHHLVVXHLQ815HVROXWLRQ ZKLFKGHPDQGVUHSDWULDWLRQIRUWKRVHUHIXJHHVZLVKLQJ to return to their homes and live in peace with their 7KH¶*UHHQ/LQH·LVWKHLQWHUQDWLRQDOO\UHFRJQLVHGERUGHU QHLJKERXUVRUFRPSHQVDWLRQIRUWKRVHFKRRVLQJQRWWR VHSDUDWLQJ,VUDHOIURPWKH2FFXSLHG3DOHVWLQLDQ7HUULWRULHV UHWXUQ7KLVKDVEHFRPHFRPPRQO\UHIHUUHGWRDVWKH¶ULJKW FUHDWHGIROORZLQJWKHFHDVHÀUHLQ RI UHWXUQ·
4 7arakat Conference E-Proceedings 2012 RIDUWLQWKH3DOHVWLQLDQ,VUDHOLFRQÁLFWDQGWKHHWKLFV research into Palestinian theatre given the rupture in RIWKH3DOHVWLQLDQ&LYLO6RFLHW\·VFDOOIRUDFXOWXUDO Palestinian cultural life that resulted from the Nakba ER\FRWWRI,VUDHO6DEDZLXQSDFNVUHVHUYDWLRQVKHOG RUFDWDVWURSKHWKDWFRLQFLGHGZLWKWKHHVWDEOLVKPHQW E\DUWLVWVWRSDUWLFLSDWHLQ%'6DQGFULWLFDOO\H[SORUHV RIWKHVWDWHRI,VUDHOLQ ,QKLVHVVD\6DPHUDVNV the emphasis some people place on the role of art in DVHULHVRITXHVWLRQVDERXWWKHODFNRIRUJDQLVHG HQFRXUDJLQJLQWHUFXOWXUDOH[FKDQJH6DEDZLGLVFXVVHV DUFKLYHVSROLWLFDODOOHJLDQFHVRI3DOHVWLQLDQDUWLVWVDV the implications of supporting cultural transactions ZHOODVWKH,VUDHOLRFFXSDWLRQDQGFHQVRUVKLSODZVWKDW that appear to ignore rather than challenge the FUHDWHGLIÀFXOWLHVLQFRQGXFWLQJHWKQRJUDSKLFUHVHDUFK HFRQRPLFVRFLDOSROLWLFDODQGUDFLDOGLVSDULW\EHWZHHQ RQ3DOHVWLQLDQWKHDWUH ,VUDHOLVDQG3DOHVWLQLDQV The role of theatre as a strategy of creative and 7KH¶)ORDWLQJ%DOORRQ*LUO·FUHDWHGE\%DQNV\ QRQYLROHQWUHVLVWDQFHLVDOVRH[SORUHGLQWKHSDSHU provides satirical and subversive commentary that ¶7KHDWUH$UWV&XOWXUH 0HDQVRI%HDXWLIXO5HVLVWDQFH· gestures towards the possibility of overcoming the E\'U$EGHOIDWWDK$EXVURXU$EXVURXULVWKH*HQHUDO H[FOXVLRQVLPSRVHGE\WKH,VUDHOLEDUULHUWKDWYLRODWHV 'LUHFWRURI$OURZZDG&XOWXUDODQG7KHDWUH7UDLQLQJ the rights of Palestinians such as the freedom of 6RFLHW\ $&76 ZKLFKKHHVWDEOLVKHGLQWKH$LGD PRYHPHQW+RZHYHU%DQNV\DOVRUHFRUGHGRQKLV 5HIXJHH&DPSLQ3DOHVWLQHLQ $OURZZDGZKLFK website how an old Palestinian man said his painting PHDQV¶WKHSLRQHHUV·LQ$UDELFIRFXVHVRQZRUNZLWK PDGHWKHZDOOORRNEHDXWLIXO$FFRUGLQJWRWKH WKHFKLOGUHQDQGZRPHQRIWKHFDPS8QGHUSLQQLQJ DQHFGRWHZKHQ%DQNV\WKDQNHGWKH3DOHVWLQLDQPDQ WKLVZRUNLVWKHVWUDWHJ\RI¶%HDXWLIXO5HVLVWDQFH·LQ IRUZKDWKHWRRNDVDFRPSOLPHQWKHZDVWROG ¶:H which theatre and artistic practice is used as a non- GRQ·WZDQWLWWREHEHDXWLIXOZHKDWHWKLVZDOO*R YLROHQWDQGFUHDWLYHPHDQVWRUHVLVWWKHRFFXSDWLRQ KRPH· -RQHV build human capacity and redress negative stereotypes 7KHLPDJHRIWKH¶)ORDWLQJ%DOORRQ*LUO·DQG RI3DOHVWLQLDQV7KHVWUDWHJ\RI¶%HDXWLIXO5HVLVWDQFH· the story behind it seemed to articulate many of the underscores how much of the theatre produced in considerations that the 7arakat Conference was interested Palestine is conceived as both a resistant practice and as LQH[SORULQJ7KH7arakat ConferenceH[SORUHGSUDFWLFH DSHDFHEXLOGLQJWRRO research and advocacy in the performing arts with 7KHVSHFLÀFLW\RIWKHDWUHSUD[LVLQ3DOHVWLQHDQG DSDUWLFXODUIRFXVRQ3DOHVWLQLDQ7KHDWUH$UDE WKHLPSOLFDWLRQVRIWKH,VUDHOLRFFXSDWLRQDUHDOVR $XVWUDOLDQ7KHDWUHDQG$SSOLHG7KHDWUHZLWKUHIXJHH H[SORUHGE\3HWUD%DUJKRXWKLLQKHUSDSHU¶5HVLOLHQFH PLJUDQWJURXSV7KHFRQIHUHQFHDQGWKHDUWLFOHV and creativity: The fantasy of an occupied body and LQFOXGHGLQWKHVHSURFHHGLQJVH[SORUHWKHUROHRI GLVFRYHULQJWKHVHOIWKURXJKGUDPDDQGPRYHPHQW·,Q WKHDWUHDQGDUWLVWLFSUDFWLFHPRUHJHQHUDOO\LQHQJDJLQJ WKLVSDSHU%DUJKRXWKLH[SORUHVWKHLPSDFWRI FROOHFWLYH ZLWKYDULRXVIRUPVRIH[FOXVLRQ PDWHULDOSROLWLFDO cultural and political circumstances on the physical VRFLDODQGFXOWXUDO7KHYDULRXVSDSHUVVXEPLWWHGIRU H[SHULHQFHRI\RXQJ3DOHVWLQLDQDFWRUVE\HPSKDVLVLQJ LQFOXVLRQLQWKHVHSURFHHGLQJVH[DPLQHWKHUROHRI the relationship between resilience and creativity in the DUWLVWLFSUDFWLFHERWKDVUDGLFDOLQWHUYHQWLRQDQGDVDQ 3DOHVWLQLDQFRQGLWLRQ+HDGRIWKH'UDPD$FDGHP\LQ LQFOXVLYHSUDFWLFH 5DPDOODK%DUJKRXWKLUHÁHFWVRQKHUZRUNDVDGUDPD ,QKLVHVVD\¶3DOHVWLQLDQWKHDWUHLQWKHWZHQWLHWK and movement therapist and a movement coach with FHQWXU\ $Q(VVD\RQ5HVHDUFK3UREOHPV·6DPHU$O young Palestinian actors in various cities and refugee 6DEHUH[SORUHVVRPHRIWKHGLIÀFXOWLHVLQFRQGXFWLQJ FDPSVDQGVKDUHVVRPHREVHUYDWLRQVWKDWPRWLYDWHG
7arakat Conference E-Proceedings 2012 5 KHUWRGHYHORSVSHFLÀFSK\VLFDOWUDLQLQJIRU3DOHVWLQLDQ RI WKHFRQIHUHQFHZDVUHSHDWHGO\FRQÀUPHGE\ actors by combining therapeutic methods and theatre outstanding and moving musical performances WHFKQLTXHVWKDWUHVSRQGHGWRWKHSDUWLFXODUQHHGVRI DQGZRUNVKRSVLQFOXGLQJ,QGLJHQRXVPXVLFLDQ KHUVWXGHQWV DQGVWRU\WHOOHU.XWFKD(GZDUGVVLQJHUVRQJZULWHU 7KHWKHPHRI¶UHVLOLHQFH·LVDOVRH[SORUHGLQWKH DQGHGXFDWRU 6 7arakat Conference E-Proceedings 2012 $VFRQIHUHQFHFRQYHQRUDQGHGLWRURI WKH 5DQGZDVDZDUGHGD3K'LQ7KHDWUHDQG'UDPDDW DUDNDW&RQIHUHQFHDQGLWVHSURFHHGLQJVZHZRXOG /D7UREH8QLYHUVLW\+LVWKHVLVH[DPLQHGWKHODWHVW OLNHWRZDUPO\WKDQNDOORXUFRQWULEXWRUVIRUWKHLU ZDYHRISROLWLFDOWKHDWUHLQ$XVWUDOLDGHDOLQJZLWK VXEPLVVLRQV Dr. Rand T. Hazou Hannah SchürholzFRPSOHWHGKHU0$DWWKH Conference Convenor 8QLYHUVLW\RI%RQQ*HUPDQ\LQIRFXVLQJ Theatre and Drama Program| La Trobe University| RQ,ULVKGUDPDDQG$XVWUDOLDQOLWHUDWXUH6KHKDV %XQGRRUD&DPSXV_9,& recently been awarded her PhD from La Trobe 7 _0 _) 8QLYHUVLW\0HOERXUQH'XULQJKHUFDQGLGDWXUH _( UKD]RX#ODWUREHHGXDX +DQQDKZRUNHGRQFRQWHPSRUDU\$XVWUDOLDQ ÀFWLRQWKHQRYHOVRI7LP:LQWRQLQSDUWLFXODU Rand HazouLVDQ$XVWUDOLDQ3DOHVWLQLDQWKHDWUH DOLJQLQJWKHRULHVRIVHOIKDUPIHPLQLVPDQG DFDGHPLFDQGIDFLOLWDWRU+HLVD/HFWXUHUDQG5HVHDUFK PHPRU\LQKHUWKHVLV¶%RG\3DLQ W 7LP:LQWRQ·V $VVRFLDWHLQWKH)DFXOW\RI+XPDQLWLHVDQG6RFLDO :RPHQ²6HOI+DUP0HPRU\DQG)HPLQLQLW\LQ 6FLHQFHVDW/D7UREH8QLYHUVLW\,Q5DQGZDV 7LP:LQWRQ·V1RYHOV·)RFXVLQJRQDQHZSURMHFW commissioned by the UNDP to travel to the Occupied +DQQDKFRQWLQXHVWRH[SORUHVHOIKDUPDQGGHDWK 7HUULWRULHVLQ3DOHVWLQHWRZRUNDVDWKHDWUHFRQVXOWDQW LQ$XVWUDOLDQDQGRWKHUSRVWFRORQLDOQDUUDWLYHV UXQQLQJZRUNVKRSVIRU3DOHVWLQLDQ\RXWKV,Q 7arakat Conference E-Proceedings 2012 7 ESSAYS Abdelfattah Abusrour ÀHOGVDURXQGWKHFDPS«7KHVHÀHOGVDUHQRZ imprisoned behind the illegal wall of separation THEATRE, ARTS, CULTURE: MEANS OF VXUURXQGLQJ$LGDFDPSIURPWKH(DVWHUQDQG BEAUTIFUL RESISTANCE1 1RUWKHUQVLGHV7KHVHZDOOVVWDUWHGDVDEDUEZLUH IHQFHLQDQGZHUHEXLOWLQEORFNVRI FHPHQW LQDVKLJKDVHLJKWWRWZHOYHPHWHUV ,ZDVOXFN\WRKDYHDVFKRODUVKLSWRFRQWLQXH P\XQLYHUVLW\HGXFDWLRQDW%HWKOHKHP8QLYHUVLW\ ZKHUH,JRWP\%DFKHORUGHJUHHLQ%LRORJ\DQG WKHQDVFKRODUVKLSWRFRQWLQXHP\0DVWHUVDQG 3K'LQ%LRORJLFDODQG0HGLFDO(QJLQHHULQJLQ )UDQFH:KHQ,DUULYHGLQ)UDQFHRQWKH WK WLVDUHDOSOHDVXUHIRUPHWREHIRUWKHÀUVW RI $XJXVW LWZDVDQDPD]LQJH[SHULHQFH WLPHKHUHLQ$XVWUDOLDDQG,ZRXOGOLNHWRSD\ WREHRXWVLGHWKHER[²WRIHHOWKHIUHHGRPDQG my respect for the indigenous people of this QRUPDOLW\RI OLIHWRORRNDW\RXUVHOI IURPRXWVLGH , WKHER[DQGIHHOKRZRWKHUVZHUHORRNLQJDW country with whom we can identify and share a FRPPRQSDWKRI KLVWRU\ \RX$WWKDWWLPHZHXVHGWRWUDYHOZLWK,VUDHOL 0\QDPHLV$EGHOIDWWDK$EGHONDULP+DVDQ WUDYHOGRFXPHQWVZKLFKVWDWHGRXUQDWLRQDOLW\ 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E-Proceedings 2012 41 ESSAYS Samer Al-Saber The emergence of modern national consciousness SUHVHQWVDXQLTXHVHWRISUREOHPVIRU3DOHVWLQLDQV PALESTINIAN THEATRE IN THE TWENTIETH- whose national aspirations were truncated by the CENTURY: AN ESSAY ON RESEARCH METHODS, FUHDWLRQRIWKH6WDWHRI,VUDHO .KDOLGL PROBLEMS AND OPPORTUNITIES1 ,QWKHKLVWRULHVRIPRGHUQ3DOHVWLQHLQFOXGLQJ WKHDWULFDOQDUUDWLYHVWKHFDWDVWURSKHRI RUZKDW Palestinians refer to as the NakbaDFWVDVDGHÀQLWLYH WXUQLQJSRLQW7KHORVVRIWKH3DOHVWLQLDQKRPHODQG WKHIUDJPHQWDWLRQRI 3DOHVWLQH·VLQVWLWXWLRQVDQGWKH separation of its theatre artists into a world diaspora SUHYHQWHGWKHVXIÀFLHQWGRFXPHQWDWLRQRI3DOHVWLQLDQ WKHDWUHLQWKHÀUVWKDOI RI WKHWZHQWLHWKFHQWXU\ LQDQ\VLJQLÀFDQWGHWDLO7KXVH[LVWLQJWKHDWULFDO KHQHPEDUNLQJRQDPLVVLRQWRVWXG\ QDUUDWLYHVRQWKHSHULRGUHPDLQVXSHUÀFLDODQGWKH 3DOHVWLQLDQWKHDWUHUHVHDUFKHUVPD\IDFH GHHSFRQQHFWLRQVEHWZHHQSUH DQGSRVW DQXPEHURIGLIÀFXOWLHVDVVRFLDWHGZLWK 3DOHVWLQLDQWKHDWUHKDYH\HWWREHHVWDEOLVKHG7KLV : problem presents a tremendous gap in scholarship WKHLURZQGLVFLSOLQHDQGPHWKRGRORJ\7KLVSDSHU surveys a number of common research problems in RQWKHWKHDWUHLQSDUWLFXODUEXWRQPRVWFXOWXUDO WKHVWXG\RI3DOHVWLQLDQWKHDWUH6LQFHVFKRODUVKLSRQ SURGXFWLRQLQJHQHUDO 3DOHVWLQHLVLQVHSDUDEOHIURPWKHORQJDQGFRPSOH[ %URDGO\3DOHVWLQLDQWKHDWUHFDQEHVWEHGHÀQHG KLVWRU\RIWKHODQGWKHVSHFLÀFWLPHSHULRGDQG DVDQ\WKHDWULFDORUSHUIRUPDQFHZRUNFUHDWHGE\ ORFDWLRQRIWKHVWXG\IURPDQWLTXLW\XQWLOWKHSUHVHQW Palestinians and informed on some level by the ZLOOGHWHUPLQHLWVRZQVHWRIKLVWRULFDOSUREOHPV,Q 3DOHVWLQLDQH[SHULHQFH$OWKRXJKPDQ\QRQ WKHWZHQWLHWKFHQWXU\UHVHDUFKSUREOHPVLQFOXGHWKH 3DOHVWLQLDQV E\EORRG FRQWLQXHWRSDUWLFLSDWH HYHQWVRI WKHDEVHQFHRIRUJDQLVHGDUFKLYHV LQ3DOHVWLQLDQWKHDWUHWKHSURGXFWLRQVDUHEHVW LQVWDEOHLQVWLWXWLRQV3DOHVWLQLDQLQWHUQDOSROLWLFV described as Palestinian if they serve Palestinian the feasibility of oral history and ethnography as LVVXHVWDNHSODFHLQ3DOHVWLQHDQGRUKDYHD UHOLDEOHPHWKRGRORJLHVIRUIRUHLJQUHVHDUFKHUVDQG PDMRULW\RI 3DOHVWLQLDQDUWLVWVLQYROYHG$IWHU WKHSHUYDVLYHLQÁXHQFHRIWKH,VUDHOLJRYHUQPHQW 3DOHVWLQLDQVZHUHVHSDUDWHGLQWRYDULRXVVLWHVLQ DQGPLOLWDU\RQDOODVSHFWVRI 3DOHVWLQLDQOLIH:KLOH $UDEFRXQWULHVZLWKLQWKHQHZJHRJUDSKLFUHDOLWLHV the problems outlined may not necessarily apply only RIWKH2FFXSLHG7HUULWRULHVDQGLQWKHGLDVSRUD$V WR3DOHVWLQHWKH\DUHVRPHRI WKHLVVXHVWKDWPD\ DUHVXOWVFKRODUVFRQVWDQWO\DWWHPSWWRVXFFHVVIXOO\ FKDOOHQJHVFKRODUVLQWKHVWXG\RI3DOHVWLQLDQWKHDWUH integrate all parts of the Palestinian people without having detailed scholarship on the realities of HDFKVLWHDQGWLPHSHULRG3 Due to the absence of 1 This conference paper belongs to a larger study on the methods and challenges of researching Palestinian cultural 0\GHÀQLWLRQ0DQ\QRQ3DOHVWLQLDQVFRQWLQXHWRVHUYHLQ SURGXFWLRQ7KHVHOHFWLRQRISUREOHPVDQGRSSRUWXQLWLHV WKHÀHOGZLWKWKHSDVVLRQDQGLQWHJULW\RI 3DOHVWLQLDQV RXWOLQHGKHUHDUHQRWGHÀQLWLYHRUFRPSUHKHQVLYHEXW WKH\DSSO\WRRWKHUUHVHDUFKÀHOGVLQ3DOHVWLQHDQGZLOOEH )RUH[DPSOH6QLU1DVVDUDQG$O0DOODKVWXG\ H[SDQGHGRQLQIXWXUHUHLQFDUQDWLRQV 3DOHVWLQLDQVLQ,VUDHO2FFXSLHG7HUULWRULHVDQGLQ$O 42 7arakat Conference E-Proceedings 2012 D3DOHVWLQLDQWKHDWUHPDVWHUQDUUDWLYHWRDGYDQFH even if these histories could all be narrated under the FULWLTXHRUVXSSRUWDUHVHDUFKHUPD\FRQÁDWHRU XPEUHOODRI WKH3DOHVWLQLDQLGHQWLW\KRZFRXOGLWEH disconnect events that may otherwise have strong possible to research all the dimensions of this identity RUZHDNFRQQHFWLRQV6XJJHVWLQJDSDWK3DOHVWLQLDQ in theatrical scholarship when we must confront the WKHDWUHVFKRODU+DOD1DVVDUQRWHV¶WKHDFXWHQHHGIRU DEVHQFHRI FHQWUDOLVHGDUFKLYHVDQGVRXUFHPDWHULDOV" a historical account of Palestinian theatre history’ The bibliographies of the few major scholarly DQGSURYLGHVVRPHDYHQXHVRIUHVHDUFK studies on Palestinian theatre demonstrate that the including theatrical activities of Palestinian refugees researchers went on treasure hunts to collect their DQGWKHDWWHPSWWRORFDWHORVWVFULSWV PDWHULDOV7 Their sources of archival materials can 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&KRUHRJUDSKHU-XOLH)OHWFKHU … and they called her Silence 1992 ¶,Q 7$4$SUHVHQWHG … and they called her SilenceH[SORULQJULWXDOFXOWXUHDQGVHQVXDOLW\ Australian Accents ,WZDVÀUVWSHUIRUPHGDWWKHnd0XOWLFXOWXUDO 2nd Multicultural Theatre Festival 1992 Theatre Festival and later in Periodical as a double IHDWXUHZLWK¶7ULTXLQXHOD·>/DWLQRZRPHQ·VWKHDWUH 0XOWLFXOWXUDO7KHDWUH$OOLDQFH JURXS@· $XJXVW²6HSWHPEHU *URXSGHYLVHGE\7$4$LQ 6HYHQWHHQSHUIRUPLQJFRPSDQLHVLQFOXGHG ,VPDLO$EGL .RRULVLQ7KHDWUH (QJOLVK $OLVVDU (OL]D &KLGLDF 7DNH$ZD\7KHDWUH *UHHN (QJOLVK Barry Gamba 9HWR7KHDWUH (QJOLVK $OLVVDU*D]DO 8QLWHG&XOWXUDO$UWV*URXS 7XUNLVK (QJOLVK (OL]DEHWK-DERXU 1HZ.XUGLVK7KHDWUH*URXS .XUGLVK Nicole Zabbal $XVWUDOLDQ&KLQHVH3HUIRUPLQJ$UWLVWV· $VVRFLDWLRQ 0DQGDULQ&DQWRQHVH (QJOLVK Design: $FWR9LYR 6SDQLVK (QJOLVKVXEWLWOHV 0DUWKD-DERXU %RFKLQFKH 6SDQLVK (QJOLVK +HOOHQLF7KHDWUH*URXS (QJOLVK*UHHN 6HW &RVWXPH&RQVWUXFWLRQ $XVWUDOLDQ7KHDWUH&RPSDQ\ 0DUWKD-DERXU .DSXFFLQR&RPSDQ\ ,WDOLDQ (QJOLVK )LRQD0XUSK\ 7KHDWUH·V3HRSOH (QJOLVK6SDQLVK$XVWUDOLDQ ,VPDLO$EGL 7KHDWUH&RPSDQ\ 'XODDQJ%D\DQ6\GQH\ 7DJDORJ (QJOLVK Choreography: 7ULTXLQXHOD 6SDQLVK (QJOLVK 1DMHW(O6KDLNK 7$4$ $UDELF (QJOLVK %DODL(QVHPEOH $VLD3DFLÀF 6FULSWDUFKLYHG (DVW7LPRU&XOWXUDO&HQWUH 7HWXP .RRFK 3HUVLDQ 1992 54 7arakat Conference E-Proceedings 2012 1993 LQ 7$4$7KHDWUH 1993 Curves, Lines, Dots and Accents … or Writing with the Broad Accents Hip Cross Cultural Collaborations 3rd Multicultural Theatre Festival 1993 Performance Forum at the 3rd0XOWLFXOWXUDO Theatre Festival 0XOWLFXOWXUDO7KHDWUH$OOLDQFH 1RYHPEHU ,VPDLO$EGL $OLVVDU (OL]D &KLGLDF Fourteen performing companies included: $OLVVDU*D]DO .RRULHVLQ7KHDWUH :LULGMXLUL (QJOLVK (OL]DEHWK-DERXU $XVWUDOLDQ&KLQHVH3HUIRUPLQJ$UWLVWV·$VVRFLDWLRQ 6DOHK6DTTDI +HOOHQLF7KHDWUH,QF *UHHN (QJOLVK Barry Gamba 7ULTXLQXHOD 6SDQLVK (QJOLVK $O6KDUHN $UDELF (QJOLVK 1993 ,UD+DO6HLGHQVWHLQ 'XODDQJ%D\DQ6\GQH\ 7DJDORJ6SDQLVK (QJOLVK $O6KDUHN Kappuccino Kompany $FWRYLYR 6SDQLVK (QJOLVKVXEWLWOHV A Glimpse of the Spaces %DODL(QVHPEOH &DQWRQHVH7DJDORJ,QGRQHVLDQ (QJOLVK Performance Forum at the 3rd0XOWLFXOWXUDO ,QWUDQVLWKHDWUH (QJOLVK6SDQLVK ,WDOLDQ Theatre Festival )UHGHULFN0LUDJOLRWWD 7$4$7KHDWUH $UDELF (QJOLVK 'LUHFWRU0LVKOLQH-DPPDO 0RQNH\2Q Cast: In Search of Rita: A Traveller in TransitE\$VVDG$EGL 1LFROH$QWDNL (VDP+DWR The Politics of Belly DancingE\3DXOD$ERRG 0LVKOLQH-DPPDO 6DOHK6DTTDI 1993 3URGXFWLRQ'RFXPHQWDWLRQ(YD*HUHQFHU International Popular Theatre Exchange 6\GQH\ Performed as a completed piece in a public season 7arakat Conference E-Proceedings 2012 55 Designer: ,QFOXGLQJ 0DUWKD-DERXU Blood Orange by Death Defying Theatre 6RXQGGHVLJQ 1DG\D6WDQL The Man Who Lost His ShadowE\9(727KHDWUH 6DOHK6DTTDI 1994 1994 In Search of Rita: a traveller in transit 'HDWK'HI\LQJ7KHDWUH/WG QRZ8UEDQ7KHDWUH :ULWWHQE\$VVDG$EGLLQ 3URMHFWV 3URGXFHGDW6LGHWUDFN7KHDWUH Eye of the Law 'LUHFWHGE\'RQ0DPRXQH\ ,QFOXGHGVFKRROVWRXUVDQGDVHDVRQDW 6FULSWDUFKLYHG 3HUIRUPDQFH6SDFH Performed by: 1994 0DKD+LQGL -RHO0DUNKDP 6$)$·V $UL(KUOLFK 7RQ\+HORX The Politics of Belly Dancing: a Choreopoem Deborah Pollard :ULWWHQE\3DXOD$ERRG 1994 'LUHFWHGE\-DQH3DFNKDP3DXOD$ERRG Multicultural Theatre Alliance 3URGXFHGDW7KH3HUIRUPDQFH6SDFH5HGIHUQ Lines of Descent 6HSWHPEHU DQGDW7KH1DWLRQDO)HVWLYDORI $XVWUDOLDQ7KHDWUH&DQEHUUD2FWREHU 3HUIRUPDQFH0DVWHUFODVVHV &KRUHRJUDSKHUSHUIRUPHU 5LWXDO:RUNVKRSV ,VDEHO6XNNDU ¶7KH2ULJLQVRI 3HUIRUPDQFH3UDFWLFH· ,QFOXGLQJ Performers: +DNDZDWL $UDELF 6WRU\WHOOLQJZLWK6DOHK6DTTDI $OLVVDU (OL]D &KLGLDF 0LGGOH(DVWHUQ'DQFHZLWK1DMHW(O6KDLNK $OLVVDU*D]DO 0DKD+LQGL 1995 (OL]DEHWK-DERXU 56 7arakat Conference E-Proceedings 2012 March Play Readings 1999 Multicultural Theatre Alliance 7$4$7KHDWUH ,QFOXGLQJ Gibran Khalil Gibran MadnessE\3DXOD$ERRG )HEUXDU\ RQVLWHSHUIRUPDQFHSURGXFWLRQLQWKH EXUQHGRXWUXLQVRI 6W3DWULFN·V&DWKHGUDO3DUUDPDWWD FredaE\5RVH1DNDG 2ULJLQDOWH[WE\ 1996 $OLVVDU&KLGLDF $OLVVDU*D]DO 7$4$7KHDWUH (OL]DEHWK-DERXU 3DXOD$ERRG Writing with the Hip 7H[WDUUDQJHPHQW ¶3UHVHQWHGLQ 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The Winding of the Mainspring :HEHJLQZLWKDFLUFOHLQWKHURXQG (DFKÀJXUHOLNHWKHPLQXWHPDUNV 2QDFORFNIDFH ,DPODWH $QGWKHFLUFOHVKLIWVNLQGO\ 0DNHVURRPIRUPH ,QWKHZD\DFORFNIDFH 0D\QRW :HEHJLQZLWKDFLUFOH $QGDUHGLUHFWHGWRXVHWKHPLGGOHGLVWDQFH To twist our inner eyes 7RORRNEHKLQGRXUVHOYHV :LQGLQJVRPHLQWULQVLFPDLQVSULQJLQRXUVHOYHV Further and further ,QWRWKHSDVWRU« ,QWROLPLWDWLRQVRU« ,QWRDQDE\VVWKDWPLJKW *D]HVEDFNLQWRXVZLWKGLODWLQJSXSLOV :HSOD\JDPHVRI H\HVWLJKWVKXW $QGVKXIÁLQJVWHSV 0XIÁHGJLJJOHVZLOOLQJO\ Find echoes in our 6HOILPSRVHGGDUNQHVV² )RUWKDWLVWKHJDPH 7arakat Conference E-Proceedings 2012 59 :HDOORZDQGGLVDOORZ (DFKRWKHUH[SHULHQFHV ¶:LOOWKH\EHELJRUVPDOO"·ZKLVSHUVFKRLFH %HJLQQLQJDWLFN²WLFNLQJLQWKHEDFNJURXQG :HVKDSHRXUERGLHV $QGWKH\DUHUHDG $QGUHVSRQGHGWR 7REHUHDGDQHZ :HPDNHRIIHUV :HSOD\ZLWKLQDVHDRI JHQHURVLW\ :KDWZHDOORZDQGZKDWZHFKRRVHLVYDOLG ,SHUFKRQWKHVHFRQGKDQG :RUNLQJIDVW 0LQGIXOSHUKDSV Of what has been learnt /LWWOHFRQVFLRXVWKRXJKW 1RSDXVHV 6SLQQLQJWKURXJKEDUULHUV $QGPXFKWRVD\ 5DFLQJDJDLQVWWLPH II. 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Winding Down :HQHYHUUHPDGHWKHFLUFOH« :HQHYHUFDPHWRJHWKHUDJDLQ +HOGKDQGVDJDLQ :HQHYHUUHPDGHWKHFLUFOH $JDLQ Please, May we remake the circle? We made a promise. Please? ,·GOLNHWRVD\WKDQN\RX 7arakat Conference E-Proceedings 2012 65 ANKE MACLEAN LVDQDUWLVWVWRU\WHOOHUDQG WKURXJK6WDUEXUVW 66 7arakat Conference E-Proceedings 2012 7arakat Conference: 1HZ=HDODQGDQGWKH3DFLÀFIRUDOOKLVHIIRUWV DQGVXSSRUW Special Thanks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ÀFHU 7KDQN\RXWRRXU6SRQVRUV 0XOWLFXOWXUDO$UWV -LOO0RUJDQ&ODXGLD(VFREDU'HVKDQL 9LFWRULD 0$9 WKH&HQWUHIRU&UHDWLYH$UWVDW :LFNUHPDVLQJKH6HEDVWLDQ$YLOD&DVWUR /D7UREH8QLYHUVLW\WKH'LYHUVLW\LQ$XVWUDOLDQ $QWKRQ\5RGUtJXH]-LPpQH]DQG0XOWLFXOWXUDO 7KHDWUH$OOLDQFH '$7$ $XVWUDOLDQVIRU $UWV9LFWRULD 0$9 :HDUHDOVRLQGHEWHGWR 3DOHVWLQH $)3 DQGWKH$XVWUDOLDQ*RYHUQPHQW 1DVVHU0DVKQL6RQMD.DUNDUDQG$XVWUDOLDQVIRU WKURXJKWKH&RXQFLOIRU$XVWUDOLDQ$UDE5HODWLRQV 3DOHVWLQH &$$5 7KURXJKVXSSRUWRI WKH7arakat Project WKHFRQIHUHQFHLVDOVRDVVLVWHGE\WKH$XVWUDOLDQ 7KHHGLWRUVZRXOGDOVROLNHWRH[WHQGRXUVSHFLDO *RYHUQPHQWWKURXJKWKH$XVWUDOLD&RXQFLOLWV WKDQNVWR$PEDVVDGRU,]]DW$EGXOKDGL²+HDGRI DUWVIXQGLQJDQGDGYLVRU\ERG\ WKH*HQHUDO'HOHJDWLRQRI 3DOHVWLQHWR$XVWUDOLD 7arakat Conference E-Proceedings 2012 67 La!Trobe University City Campus latrobe.edu.au 215 Franklin Street, Melbourne Conference Convenor Dr. Rand T. Hazou Theatre and Drama Program, La!Trobe University, Bundoora Campus, Victoria 3086 T +61 3 9479 2340 M +61 0407 042 552 F +61 3 9479 3037 E [email protected] Conference Information O"cer and Emergency Contact Dr. Hannah Schürholz English Program, La!Trobe University, Bundoora Campus, Victoria 3086 M +61 0415 314 226 E [email protected] La!Trobe City Campus Contact and Security 215 Franklin Street, Melbourne, Victoria 3000 T +61 3 9285 5100 Sponsors The conference is supported by Multicultural Arts Victoria (MAV), the Centre for Creative Arts at La!Trobe University, the Diversity in Australian Theatre Alliance (DATA), Australians for Palestine (AFP), and the Australian Government through the Council for Australian-Arab Relations (CAAR). Through support of the 7arakat Project, the conference is also assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Conference E-Proceedings publication is indebted to the support of the Centre for Creative Arts and the Faculty of Humanities and Social Sciences at La Trobe University. CRICOS Provider 00115M