DOCSLIB.ORG

Negotiating a Sea of White

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Negotiating a Sea of White Negotiating a Sea of White Whiteness and Diversity in Dutch Opera Practices Liselotte Podda 6512704 Supervisor: Dr Rebekah Ahrendt Second reader: Prof Dr Naomi André Department of Media and Culture Studies Research Master in Musicology Thesis August 2020 Negotiating a Sea of White: Whiteness and Diversity in Dutch Opera Practices Liselotte Podda RMA Musicology, Utrecht University Abstract The police murders of George Floyd, Breonna Taylor and Ahmaud Arbery in 2020 sparked large- scale protests and drew worldwide attention to the Black Lives Matter movement. Subsequently, conversations on racism and police violence arose globally. Opera houses, such as the Dutch National Opera (DNO), also discussed racism and promised to diversify. On social media, DNO acknowledges its responsibility to change as a predominantly white organisation. This statement raises the question of how DNO has dealt with their whiteness and measures regarding diversity and inclusion so far. Therefore, in this thesis, I examine how the diversity and inclusion efforts of DNO between 2017 and 2021 reflect upon the organisation's whiteness. First, I position DNO within the contexts of whiteness concerning opera, the Dutch arts sector and Dutch society. The subsequent chapters address diversity and inclusion within the programme, public, personnel, partners and positioning (5 Ps) as the areas in which DNO aims to diversify. The analysis of DNO's 5 Ps reveals how whiteness inhibits the organisation's diversity and inclusion aims. Within the programme, the overwhelming whiteness of the composers, writers, conductors and directors supports whiteness as a mechanism of exclusion through stereotypical casting and whitewashing. The chapter on public indicates that the convergence of both age and diversity within DNO's aims and projects enforces whiteness by centring a young white audience. Personnel analysis shows the workings of whiteness as an orientation, gender advancement at the expense of people of colour, and tokenism. DNO's partners mirror the whiteness of surrounding networks and the Netherlands, as most collaborators struggle with whiteness. Lastly, DNO's positioning strategy reinscribes systemic whiteness. Ultimately, this thesis contributes to the discourse on whiteness and institutional racism within the realm of opera and Dutch society at large and stresses the critical reflection on the role of diversity and inclusion strategies within these contexts. 2 Negotiating a Sea of White: Whiteness and Diversity in Dutch Opera Practices Liselotte Podda RMA Musicology, Utrecht University Acknowledgements I want to take this opportunity to thank some of the people who have been of immense importance both in the process of writing this thesis as in my academic and personal journey that led up to this moment. First and foremost, I want to thank my classmates Eline, Ian, Lisa, Marjolein, Sonja, Valerie and Zora for their welcoming enthusiasm, openness and ambition which enabled me to push my boundaries within a supportive community, for all the animated conversations, safe spaces for discussion and fun times during the past two years. I feel privileged to have been able to study with you. A special thanks goes out to the 'thesis focus group' for the tireless encouragement, peer feedback and mental support during the process of writing this thesis in a lockdown situation. I want to express my gratitude to Dr Rebekah Ahrendt for her enthusiastic guidance in the past two years, her thesis supervision and for pushing me to dig deeper into the places where academia and 'the real world' meet. A special thanks to Prof Dr Naomi André for inspiring me, leading the way on the topic of race and opera, and for so generously accepting to be my second reader. I want to thank my partner for always pushing me to be critical and reflective of my practice and for keeping me standing until the very end. My parents for providing me with the space to keep on working during the pandemic. My brothers for their support and the sometimes much welcome distraction. Many thanks to Dr Olga Panteleeva for inspiring me to take this path, for creating the most activating seminars and being the first to teach me how to deal with race as a white person. My gratitude goes out to all of the other instructors of the Musicology research master's programme at Utrecht University for sharing their knowledge as well as their flexibility, personal approach and understanding during these challenging two years. 3 Negotiating a Sea of White: Whiteness and Diversity in Dutch Opera Practices Liselotte Podda RMA Musicology, Utrecht University Lastly, I would like to express a final word of gratitude to all the activists, antiracists, scholars and artists of colour that have inspired my thinking and I am greatly indebted to in writing this thesis. 4 Negotiating a Sea of White: Whiteness and Diversity in Dutch Opera Practices Liselotte Podda RMA Musicology, Utrecht University Table of Contents Abstract .......................................................................................................................................... 2 Acknowledgements ....................................................................................................................... 3 Table of Contents .......................................................................................................................... 5 List of Figures ................................................................................................................................ 8 List of Acronyms ............................................................................................................................ 9 Introduction ................................................................................................................................. 11 Terminology .............................................................................................................................................................. 16 Chapters and Methodology ................................................................................................................................ 20 Positioning Myself ................................................................................................................................................... 24 Chapter 1: Contextualising Whiteness: Opera, the Public Arts Sector and the Netherlands ....................................................................................................................................................... 26 International Opera Developments .................................................................................................................. 26 Dutch Racism and Whiteness ............................................................................................................................. 31 The Dutch Arts Sector and its Funding ........................................................................................................... 35 Dutch National Opera and Diversity ................................................................................................................ 39 Conclusion .................................................................................................................................................................. 43 Chapter 2: The Power of the Programme ................................................................................. 45 Talking about the Programme ........................................................................................................................... 46 Numerical Analysis .................................................................................................................................................. 47 Stereotypical Casting ............................................................................................................................................. 50 Whitewashing ........................................................................................................................................................... 54 Conclusion .................................................................................................................................................................. 58 Chapter 3: Who is the Public? .................................................................................................... 59 Potential Target Groups, Motivation, Projects and Measurements...................................................... 59 Opening Up: Talking About Audience Diversity .......................................................................................... 62 5 Negotiating a Sea of White: Whiteness and Diversity in Dutch Opera Practices Liselotte Podda RMA Musicology, Utrecht University Young Versus Diverse: The Programme ......................................................................................................... 64 Young Versus Diverse: Education and Youth Organisations ................................................................... 67 Conclusion .................................................................................................................................................................. 70 Chapter 4: A Personnel Reflection of Society........................................................................... 72 Average Workforce Diversity .............................................................................................................................
Load more

Recommended publications
  • Festtage 2019 Vorschau Winter/ Frühling 2020
    Opern Konzerte Kultur Festtage 2019 Vorschau Winter/ Frühling 2020 1 VENEDIG - ADVENT 05. – 08. DEZEMBER 2019 ___________________________________________________________________________________________________________________________________ REISEPROGRAMM DONNERSTAG, 5. DEZEMBER: ANREISE ZÜRICH - VENEDIG 09.10 Abfahrt ab Zürich-Hauptbahnhof mit direktem EC-Zug via Arth-Goldau – Lugano - Chiasso nach Venedig. Speisewagen und Minibar im Zug. 15.40 Ankunft in Venedig. Transfer mit Taxiboot direkt zum erstklassigen STARHOTEL SPLENDID und Zimmerbezug. Der restliche Nachmittag steht Ihnen zur freien Verfügung. 19.30 Willkommens-Abendessen im Hotel-Restaurant und Übernachtung im STARHOTEL SPLENDID in Venedig. FREITAG, 06. DEZEMBER: VENEDIG / STADTRUNDGANG / KONZERT Frühstücksbuffet im Hotel-Restaurant. 10.00 Heute steht der erste Teil des Stadtrundganges auf dem Programm. Venedig, die mystische Stadt auf Pfählen übertrifft sich mit Sehens- würdigkeiten, verträumten Höfen, engen Gassen, grossen und kleinen Kanälen und viel Geschichte. Während unseres Spaziergangs unter kundiger Führung sehen Sie unter anderem die Piazza San Marco, die zu Recht als einer der schönsten Plätze der Welt gilt. Wir besuchen den Dogenpalast sowie die Markuskirche. Zwischendurch haben Sie Zeit für eine individuelle Kaffeepause. 13.00 Ende der Stadtführung und gemeinsames Mittagessen. Nachmittag zur freien Verfügung. 19.45 Spaziergang vom Hotel zur Oper: 20.30 Im Teatro La Fenice: ORCHESTERKONZERT Ausführende: Chor und Orchester des Gran Teatro La Fenice Programm: Gustav Mahler Symphonie Nr. 9 D-Dur Dirigent: Myung-Whun Chung Nach dem Konzert Rückkehr zum Hotel und Übernachtung im STARHOTEL SPLENDID in Venedig. SAMSTAG, 07. DEZEMBER: VENEDIG / STADTRUNDGANG / OPER Frühstücksbuffet im Hotel-Restaurant. 09.30 Während des zweiten Teils unseres Stadtrundganges bieten wir Ihnen Einblick in das weniger bekannte Venedig. Unser Weg führt über die Rialto-Brücke zur Chiesa Santa Maria Gloriosa di Frari (Besuch vorgesehen, sofern möglich).
    [Show full text]
  • Af20-Booking-Guide.Pdf
    1 SPECIAL EVENT YOU'RE 60th Birthday Concert 6 Fire Gardens 12 WRITERS’ WEEK 77 Adelaide Writers’ Week WELCOME AF OPERA Requiem 8 DANCE Breaking the Waves 24 10 Lyon Opera Ballet 26 Enter Achilles We believe everyone should be able to enjoy the Adelaide Festival. 44 Between Tiny Cities Check out the following discounts and ways to save... PHYSICAL THEATRE 45 Two Crews 54 Black Velvet High Performance Packing Tape 40 CLASSICAL MUSIC THEATRE 16 150 Psalms The Doctor 14 OPEN HOUSE CONCESSION UNDER 30 28 The Sound of History: Beethoven, Cold Blood 22 Napoleon and Revolution A range of initiatives including Pensioner Under 30? Access super Mouthpiece 30 48 Chamber Landscapes: Pay What You Can and 1000 Unemployed discounted tickets to most Cock Cock... Who’s There? 38 Citizen & Composer tickets for those in need MEAA member Festival shows The Iliad – Out Loud 42 See page 85 for more information Aleppo. A Portrait of Absence 46 52 Garrick Ohlsson Dance Nation 60 53 Mahler / Adès STUDENTS FRIENDS GROUPS CONTEMPORARY MUSIC INTERACTIVE Your full time student ID Become a Friend to access Book a group of 6+ 32 Buŋgul Eight 36 unlocks special prices for priority seating and save online and save 15% 61 WOMADelaide most Festival shows 15% on AF tickets 65 The Parov Stelar Band 66 Mad Max meets VISUAL ART The Shaolin Afronauts 150 Psalms Exhibition 21 67 Vince Jones & The Heavy Hitters MYSTERY PACKAGES NEW A Doll's House 62 68 Lisa Gerrard & Paul Grabowsky Monster Theatres - 74 IN 69 Joep Beving If you find it hard to decide what to see during the Festival, 2020 Adelaide Biennial .
    [Show full text]
  • Michel Van Der Aa Appears Tobenothingparticularlyradicalaboutit
    Excerpt from the score of Here [to be found]. ‘This is the Gesamtkunst of the future.’ The Financial Times on After Life An Introduction to the Music cryptic suffering. As a dramatized documentary about a of Michel van der Aa genre it is quintessential Van der Aa. He is the observer whose expedition begins with the vital life questions his by Bas van Putten characters pose on his behalf. What do I see and hear, who am I, what do I feel, what do I think, where do I At first glance, Spaces of Blank (2007) by the Dutch stand? His brand of composing – and in the meantime, composer Michel van der Aa appears to be a conven- much more than just that: Van der Aa also films and tional three-movement song cycle for mezzo-soprano, directs – is less a matter of style as of attitude. ‘I’m not orchestra and soundtrack. The work, written on a a composer of just notes,’ he once said. Although he commission from the Royal Concertgebouw Orchestra, willingly qualifies that statement (‘not that notes aren’t Radio France and the Norddeutscher Rundfunk, is a important’), music is for Van der Aa unmistakably part of setting of evocative poems by Emily Dickinson, Anne a larger whole. The immediate recognizability of his tone, Carson and Rozalie Hirs; it is scored for more or less with the typical alternation between hectic motion and standard orchestral forces; the solo part is, for the most serene, surprisingly sonorous electro-acoustic harmo- part, without vocal eccentricities. Less common is the nies, does nothing to diminish this assertion.
    [Show full text]
  • Racial Literacy Curriculum Parent/Guardian Companion Guide
    Pollyanna Racial Literacy Curriculum PARENT/GUARDIAN COMPANION GUIDE ©2019 Pollyanna, Inc. – Parent/Guardian Companion Guide | Monique Vogelsang, Primary Contributor CONTENTS INTRODUCTION Why is important to learn about and discuss race? 1 What is the Racial Literacy Curriculum? 1 How is the Curriculum Structured? 2 What is the Parent/Guardian Companion Guide? 2 How is the Companion Guide Structured? 3 Quick Notes About Terminology 3 UNITS The Physical World Around Us 5 A Celebration of (Skin) Colors We Are Part of a Larger Community 9 Encouraging Kindness, Social Awareness, and Empathy Diversity Around the World 13 How Geography and Our Daily Lives Connect Us Stories of Activism 17 How One Voice Can Change a Community (and Bridge the World) The Development of Civilization 24 How Geography Gave Some Populations a Head Start (Dispelling Myths of Racial Superiority) How “Immigration” Shaped the Racial and 29 Cultural Landscape of the United States The Persecution, Resistance, and Contributions of Immigrants and Enslaved People The Historical Construction of Race and 36 Current Racial Identities Throughout U.S. Society The Danger of a Single Story What is Race? 48 How Science, Society, and the Media (Mis)represent Race Please note: This document is strictly private, confidential Race as Primary “Institution” of the U.S. 55 and should not be copied, distributed or reproduced in How We May Combat Systemic Inequality whole or in part, nor passed to any third party outside of your school’s parents/guardians, without the prior consent of Pollyanna. PAGE ii ©2019 Pollyanna, Inc. – Parent/Guardian Companion Guide | Monique Vogelsang, Primary Contributor INTRODUCTION Why is it important to learn about and discuss race? Educators, sociologists, and psychologists recommend that we address concepts of race and racism with our children as soon as possible.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • 40. Internationale Händel-Festspiele
    16.2. – 2.3. 2018 Neuinszenierung ALCINA Oper in drei Akten von Georg Friedrich Händel Andreas Spering Dirigent Mit Layla Claire, David Hansen, Claudia Boyle, Benedetta Mazzucato, Alexey Neklyudov u. a. Premiere 16.2.18 GROSSES HAUS Weitere Vorstellungen 18., 21., 24. & 27.2.18 Wiederaufnahme SEMELE Musikdrama in drei Akten von Georg Friedrich Händel Floris Visser Regie Gideon Davey Ausstattung Christopher Moulds Dirigent Mit Anna Devin, Ed Lyon, Terry Wey, Katharine Tier u. a. WA-Premiere 23.2.18 GROSSES HAUS 2017 HÄNDEL-FESTSPIELE INTERNATIONALE 40. Weitere Vorstellungen 25. & 28.2.18 Konzerte mit Valer Sabadus, Franco Fagioli, Rebecca Bottone, Andreas Wolf, Rinaldo Alessandrini & vieles mehr! Der Vorverkauf läuft ab dem 7.2.17 für ABONNENTEN, Mitglieder der HÄNDEL- GESELLSCHAFT KARLSRUHE und Mitglieder der GESELLSCHAFT DER FREUNDE DES BADISCHEN STAATSTHEATERS. Am 17.2.17 startet der Vorverkauf für alle Besucher. WWW.STAATSTHEATER.KARLSRUHE.DE FESTSPIELKALENDER FR 17.2. ERÖFFNUNG DER 40. INTERNATIONALEN HÄNDEL-FESTSPIELE 2017 18.00 MITTLERES FOYER Zeitlose MEISTERWERKE. Freytag media.net GmbH SEMELE Klang und Design Karlstraße 32 Musikalisches Drama in drei Akten von Georg Friedrich Händel 76133 Karlsruhe 19.00 GROSSES HAUS PREMIERE S. 22 perfekt GEHÄNDELT. www.freytag.de SA 18.2. HÄNDEL MIT DONNA LEON Erleben Sie eine breite Auswahl an hochwertigen TV- und HiFi- 16.00 KLEINES HAUS S. 50 Lösungen. Hervorragende Technik, modernes Design, aber vor allem ein ausgezeichnetes Klangbild – bei uns finden Sie alles für Mo-Fr: 10:00 – 19:00 Uhr THEODORA Ihre Bild- und Sound-Sensationen in den eigenen vier Wänden. Sa: 10:00 – 16:00 Uhr Oratorium von Georg Friedrich Händel 19.30 GROSSES HAUS S.
    [Show full text]
  • Iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
    IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Salle de Concerts Grande-Duchesse Joséphine-Charlotte Saison 2010/11 1 Sommaire / Inhalt / Content Partenaires d’événements: IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Jazz, World & Easy listening Orchestre Philharmonique du Luxembourg Cycle Philharmonique I 150 Salle de Concerts Grande-Duchesse Jazz & beyond 68 Cycle Philharmonique II 152 Joséphine-Charlotte – Saison 2010/11 Autour du monde 76 Cycle «Dating:» 154 Ciné-Concerts 82 Cycle «Duo» 155 Bienvenue / Willkommen / Welcome 4 Pops 86 Cycle «Familles» 156 Chill at the Phil 90 Amis de l’Orchestre Philharmonique du Nous remercions nos partenaires qui, en IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Luxembourg 158 associant leur image à la Philharmonie et Orchestre IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Solistes Européens, Luxembourg en soutenant sa programmation, permettent Special Cycle Rencontres SEL A 160 sa diversité et l’accès à un public plus large. Partenaire de programme: Grands orchestres 14 Cycle Rencontres SEL B 162 Grands solistes 18 Luxembourg Festival 96 Camerata 164 L’Orchestral 22 back to the future – rainy days 2010 98 Soirées de Luxembourg 166 pour «Backstage» Concerts exceptionnels 26 Musiques d’aujourd’hui
    [Show full text]
  • Williams Percussion Ensemble Noise/Signal
    Williams Percussion Ensemble Noise/Signal We call “noise” any undesirable signal in the transmission of a message through a channel, and we use this term for all types of perturbation, whether the message is sonic or visual. Thus shocks, crackling, and atmospherics are noises in radio transmission. A white or black spot on a television screen, a gray fog, some dashes not belonging to the transmitted message, a spot of ink on a newspaper, a tear in a page of a book, a colored spot on a picture are “noises” in visual messages. A rumor without foundation is a “noise” in a sociological message. At first sight, it may seem that the distinction between “noise” and “signal” is easily made on the basis of the distinction between order and disorder. A signal appears to be essentially an ordered phenomenon while crackling, or atmospherics, are disordered phenomena, formless blotches on a structured picture of sound. However, there is no absolute structural difference between noise and signal. They are of the same nature. The only difference which can be logically established between them is based exclusively on the concept of intent on the part of the transmitter: A noise is a signal that the sender does not want to transmit. Or, more generally: A noise is a sound we do not want to hear. — Abraham Moles, from Information Theory and Esthetic Perception In the ordered world of Western art music, percussion has long been employed to bring in the noise. The bulk of the percussion family is in fact comprised of instruments that produce noise rather than tone.
    [Show full text]
  • [T]Akte Das Bärenreiter-Magazin
    [t]akte Das Bärenreiter-Magazin Widerläufer zwischen Nord und Süd: Manfred Trojahn wird 70 Der bekannte Unbekannte: 2I2019 Engelbert Humperdincks Opern Informationen für Bühne und Orchester Die sinfonischen Dichtungen von Camille Saint-Saëns [t]akte 2I2019 4 9 11 12 14 16 18 20 Arkadien atmet auf Nicht immer nur die „Pure Freude, dieses Stück Der bekannte Unbekannte Cilea oder Die Wahrheit des Drachen gibt es auch heute noch Ein Widerläufer zwischen Lebensstürme Händels „Il pastor fido“ in der „Danse macabre“ zu spielen“ Engelbert Humperdinck vor Gesangs Paul Dessaus Oper „Lanzelot“ Nord und Süd Zum Tode des Komponisten Hallischen Händel-Ausgabe Die symphonischen Dichtungen Frank Peter Zimmermann über dem 100. Todestag am Die Opern Francesco Cileas wird wieder aufgeführt Einiges über Manfred Trojahn: Heinz Winbeck von Camille Saint-Saëns Bohuslav Martinůs Violinkon- 27. September 2021 (Teil 1) seine Positionen, Orchestermu- In seiner Anlage ist Händels zerte Fünfzig Jahre nach der Urauf- sik und Opern Heinz Winbeck starb im März „Il pastor fido“ ein eher be- Mit seinen vier symphoni- „Hänsel und Gretel“ hat Francesco Cileas schmales führung gelangt Paul Dessaus 2019 in Regensburg. Leonhard scheidenes Werk. Musik und schen Dichtungen stellt sich Mit den Berliner Philharmoni- seinen Stammplatz unter Opernschaffen nimmt eine Oper „Lanzelot“ in der ur- Am 22. Oktober wird Manfred Scheuch, der Verleger des Handlung aber bieten vielfäl- Camille Saint-Saëns ent- kern hat Frank Peter Zimmer- den meistgespielten Opern. singuläre Position im veristi- sprünglichen Fassung wieder Trojahn 70 Jahre alt. Für eine Bärenreiter-Verlags, erinnert tige Möglichkeiten zu einem schieden in die Tradition von mann schon beide Violinkon- Aber darüber hinaus bieten schen Musiktheater ein.
    [Show full text]
  • DAS MAGAZIN Nr. 29 | BADISCHES STAATSTHEATER KARLSRUHE
    EUROPA S LEYLA BARAN 29 WWW.EUROPAEISCHE-KULTURTAGE.DE BRIDGET BREINER WILLKOMMEN LIEBES PUBLIKUM, als am 31.1.20 um Mitternacht Großbritannien aus der Euro- Das Theater ist das Forum, wo wir uns diese Geschichten im päischen Union austrat, saß ich, nach einer Vorstellung von unmittelbaren Austausch erzählen und miteinander ausdeuten. Unantastbar, unseres Abends zum Jubiläum des Grundgeset- Geschichten wie sie unser Leben im Hier und Heute ausdrückt zes, in einer Bar in der Karlsruher Südstadt, bestellte ein Pint und wo wir Bewusstheit darüber erlangen können. Bewusst- britisches Ale und gedachte dieses zutiefst bitteren Augen- heit, das uns die Freiheit gibt, diese Geschichten nach unseren blicks. Welch ein trauriger Moment in unserer europäischen besseren Möglichkeiten fortzuschreiben, wenn wir uns das Ver- Geschichte, in der sich die Idee eines geeinten Europas nun sprechen eines besseren Miteinanders immer wieder selbst ge- wieder neue Wege wird suchen müssen. Doch was bleibt nach ben und die Verantwortung übernehmen, die damit einhergeht. diesem Moment kopfschüttelnder Fassungslosigkeit? Wie geht es weiter? Was steckt denn nun eigentlich hinter der Idee Klingt verdächtig nach Idealismus? Macht nichts! Das Ver- von Europa? Welche Verheißung birgt ihr Versprechen? Und sprechen Europa ist wunderschön, von einfach war wie nie die wer hat uns dieses Versprechen gegeben? Rede. In unserem Stück europa flieht nach europa von Miroslava Svoli- Mit freundlichen Grüßen kova heißt es über die Erschaffung eines neuen, idealen Konti- Heisam Abbas nents Europa: „es soll nur liebe und geborgenheit geben und den Schauspieler & Personalrat gedankenaustausch ausgereifter individuen, die sich in freiheit und liebe begegnen!“ Hinter diesen Worten steht die Vision einer besseren, friedlicheren, gerechteren Menschengemeinschaft, INHALT ein scheinbar unerreichbares Idealbild.
    [Show full text]
  • Turnage Anna Nicole
    Boosey & Hawkes Music Publishers Limited June 2011 2011/2 Turnage Anna Nicole New from Included in this issue: boosey.com Birtwistle Mark-Anthony Turnage’s new opera enjoyed a sell-out premiere run at The Royal Opera, New violin concerto travels followed by BBC television and radio broadcasts and a forthcoming DVD release. to BBC Proms ‘gentleman’s club’ in Houston... The more reflective passages often take the surprising form of beguiling, varied waltzes. Mr. Turnage and Mr. Thomas have come up with a slew of operatic characters that singers are going to relish, as this cast did. The London audience ate it up. But so did I, because in the end this is a musically rich, Online Scores launched audacious and inexplicably poignant work. The We are pleased to announce the launch of ovations were tumultuous.” New York Times Online Scores: a new boosey.com music “Turnage’s score is both immediately attractive service that allows you to view a digitised and dramatically purposeful, while Thomas’s pithy library of full scores from the B&H catalogue, text is integral to the success of an opera that hits free of charge. all the G-spots.” Sunday Times • over 400 scores currently available, with The Royal Opera’s production of Anna frequent additions Reich Nicole, with cast including Eva-Maria Kronos Quartet tours 9/11 wide range of leading composers from Westbroek, Gerald Finley and Alan Oke • Adams to Xenakis memorial to Europe conducted by Antonio Pappano, is released on DVD and Blu-ray by Opus Arte in August. first time access to many rare or • contemporary scores Turnage’s Blood on the Floor is choreographed by Wayne Macgregor in a available when you want, for study or • research new Francis Bacon-inspired ballet at the Opéra Bastille in Paris on 29 June.
    [Show full text]
  • Whitewashing Or Amnesia: a Study of the Construction
    WHITEWASHING OR AMNESIA: A STUDY OF THE CONSTRUCTION OF RACE IN TWO MIDWESTERN COUNTIES A DISSERTATION IN Sociology and History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DEBRA KAY TAYLOR M.A., University of Missouri-Kansas City, 2005 B.L.A., University of Missouri-Kansas City, 2000 Kansas City, Missouri 2019 © 2019 DEBRA KAY TAYLOR ALL RIGHTS RESERVE WHITEWASHING OR AMNESIA: A STUDY OF THE CONSTRUCTION OF RACE IN TWO MIDWESTERN COUNTIES Debra Kay Taylor, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2019 ABSTRACT This inter-disciplinary dissertation utilizes sociological and historical research methods for a critical comparative analysis of the material culture as reproduced through murals and monuments located in two counties in Missouri, Bates County and Cass County. Employing Critical Race Theory as the theoretical framework, each counties’ analysis results are examined. The concepts of race, systemic racism, White privilege and interest-convergence are used to assess both counties continuance of sustaining a racially imbalanced historical narrative. I posit that the construction of history of Bates County and Cass County continues to influence and reinforces systemic racism in the local narrative. Keywords: critical race theory, race, racism, social construction of reality, white privilege, normality, interest-convergence iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the School of Graduate Studies, have examined a dissertation titled, “Whitewashing or Amnesia: A Study of the Construction of Race in Two Midwestern Counties,” presented by Debra Kay Taylor, candidate for the Doctor of Philosophy degree, and certify that in their opinion it is worthy of acceptance.
    [Show full text]