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Analysis of Impact / Covid-19 History Life in Lockdown

Protest mobilities? Tourism, demonstration, and civil conflict

By Jamie Nugent, PhD Candidate in History

In the aftermath of the Bristol protests against the Conservative government’s new Police, Crime, Sentencing and Courts Bill, the Bristol Mayor Marvin Rees pinned the blame for the violence on what he called “revolutionary tourists” or “protest tourists” who had come in from the outside itching for a fight. Regardless of the truth of his claims, it is interesting to note how common this claim has become in an era of global mobilities and ever-more global protests. It has more of a whiff of the claim of “outside agitation” used since the 19th century to contrast ‘respectable’ locals with ‘troublesome’ outsiders. It also shows a shifting landscape in the meaning of protest itself – especially as authoritarian governments and even democratic states clamp down on street-based forms of expression as well as freedom of speech online.

In 2019 the blogger and Experiences Ambassador for AirBnB, Sebastian Nieto Milevcic, explored the concept of “Protest Tourism” in the context of the Chilean ‘Estallido Social’ (Social Outbreak) which erupted in response to corruption, privatisation, and widespread inequality in the South American nation. Milevcic noticed that the protestors were accompanied by a number of “mere observers, blog enthusiasts, and selfie explorers,” including Americans and Europeans who stood out from the crowd. He asked them why they were there, and they gave several responses:

“I wanted to see something real.”

”I just want to tell my friends I was here.”

“I was just too curious to watch what was going to happen.”

Milevcic mused as to whether this was ‘Dark Tourism’, which draws millions to Chernobyl, Fukushima and Ground Zero in Manhattan, as well as genocide sites such as Rwanda and Cambodia’s Killing Fields. He concludes “maybe it’s just Travel itself that is innately voyeuristic?” Although Milevcic’s observers were just that, observers, the distinction can often be blurred in a digital age where the camera and microphone can be effective weapons – both for and against injustice. As for voyeurism, Nick Cohen in The Guardian castigated “Radical tourists” who “trawl the world for revolutions to praise” as “no better than sex tourists” in search of exotic thrills they cannot get at home. 

“Pleasures sated, the tourists fly away from the poverty and the corruption. The lies they have lived and paid others to live on their behalf don’t bother them,” Cohen wrote. He was referring specifically to supporters of the regime in Venezuela, whose own economic mismanagement and political crisis has led to a mobility crisis of a different kind, with over four million estimated to have left the country since 1999.

Though it might be called ‘voyeurism’, the practice of ‘outside interference’ in domestic or local disputes has a long history loosely connected to espionage or power politics. Take for example the poet Lord Byron, who went voluntarily to fight in the Greek War of Independence against the Ottoman Empire; or the scores of British (and Irish) volunteers who fought against Franco’s Falangists during the Spanish Civil War, not least George Orwell and the trade unionist Hans Beimler. Or with non-violent protests, take the example of Viola Liuzzo and James Reeb, white Americans who travelled from their homes in California and Kansas, respectively, in order to attend the civil rights march from Selma to Montgomery (dramatised in the 2014 film Selma). Both Liuzzo and Reeb lost their lives during the marches. 

Mobile protestors can often be the tool of, or victims of, international events and political manoeuvres. Greenpeace’s Rainbow Warrior, a commercial trawler which travelled around the world protesting against whaling, seal-hunting and nuclear tests, was infamously sunk by French agents near New Zealand as it was setting out to protest nuclear testing in French Polynesia. Just before the Soviet Union invaded and occupied the Baltic States in 1939, demonstrators appeared in major cities on 18 July calling for incorporation into the Soviet Union, and under the threat of Soviet invasion, this call was swiftly followed by the national parliaments of Latvia, Lithuania and Estonia applying for membership and being annexed. A similar tactic is suspected in the eastern part of the Ukraine which has seceded – so-called “protest tourists” from Russia are often seen at rallies in Donetsk.

Such actors, whether in military conflicts or political issues, often receive short shrift from the powers-that-be. Alan Shatter, Irish Minister for Justice in 2011 accused members of the anti-gas group ‘Sea to Shell’ of being “self indulgent protest tourists,” much like Mayor Marvin Rees has accused the Bristol rioters. With the ever-increasing concerns to contain COVID-19, and public demonstrations in the firing line of public health restrictions on travel and assembly, it is impossible to say what impact the pandemic will have on “protest mobilities,” as I coin it. 

Research suggests that there was “no evidence” of a spike in infections after the Black Lives Matter Protests in the US last summer. But YouGov polling suggests that the UK public emphatically support almost every public control measure (such as water cannon, tear gas and plastic bullets) except live ammunition. In a world of new, uncertain threats and an ongoing crisis of legitimacy in democratic nations, it can be expected that clampdowns on mobility (as seen during the pandemic) and public demonstrations (as seen with the new Bill) will be pursued by governments unable to admit that the situation is far from under control.

Categories
Learning and Researching at QuB Politics

Phenomenal everyday feminism: How to practise feminist politics every day

Ahead of International Women’s Day, the Centre for Gender in Politics at Queen’s recently hosted a workshop with Reclaim the Agenda on how to make feminist activism part of your everyday. The conversation was kickstarted by some phenomenal women organising on various issues, followed by a discussion about how to get involved – even if that’s from your sofa for the time being!

Stay tuned for a write-up of the event.

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Community

Diversity in Northern Ireland: Reflections in PEACE IV Culture Café

There are many ways in which people of different social, economic, political, religious and ethnic backgrounds have been engaged in place-making in Northern Ireland. This fascinating process has been explored by a growing number of lecturers, students and postdoctoral researchers at QUB (Komarova and Svašek 2018). 

On Monday 29th March, the Indian Community Centre Belfast will reflect on their place-making activities in Belfast at a virtual event organised by PEACE IV Culture Café. The event will take place during Holi, showcasing Indian dance performances by the South Asian Dance Academy and a demonstration of Rangoli art. This is an opportunity to learn more about the politics and poetics of belonging in ethnically-diverse Belfast, hearing local voices. For more information and registration: https://www.belfastcity.gov.uk/Events/Culture-Cafe-The-Indian-Community

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HAPP pets Life in Lockdown

Interfering pets: Meet Darcy

By Tom Marshall, PhD Candidate in Anthropology

If Ivan Pavlov was conducting his Pavlov’s dog experiment today, he could use my doggie, Darcy, when virtual meetings begin. When virtual meetings start with the participants initial, “hello, how are you?” Darcy takes her cue to bark or growl. It is her way of saying “hello” or “who’s here to play with me?” Darcy is then on a quest to search for these ‘intruders’ in her home. My lap is then selfishly used as a human vantage point.

As you can see from the screenshot below, I have to struggle to be seen on screen by the meeting participants. Maruška, my supervisor, anticipates, even expects Darcy’s bark at the start of our virtual supervision meetings. In fact, Darcy’s presence at regular meetings is often anticipated. However, when I am on a virtual call with people we haven’t met before, Darcy’s need for attention requires some explanation. Thankfully, Darcy’s interfering adds an initial talking point, breaking the ice before any official business begins. So, rather than interfering, Darcy brings moments of surprise and joy during zoom gloom and our pandemic lethargy.

Who’s there? Darcy Zoom-bombing. Photo by the author.

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Anthropology Learning and Researching at QuB

Politics of performance: From negotiation to display

Student compositions for ESA3002

In the Politics of Performance module, which is run in conjunction with workshops co-hosted with Beyond Skin, students learn about performative politics across four broadly interlinked areas: (i) protest and empowerment; (ii) socially engaged arts practices, foregrounding identity claims that impact upon policy agendas; (iii) sonic and political imaginaries of creativity; and (iv) the arts as a space of engagement for healing and reconciliation.

As part of the assessed work, students produced a creative piece and a critical reflections upon some of the seven workshops. The creative elements of the module highlight students’ voices by profiling their work individually and in conjunction with a music producer who created a collaborative student rap piece which you can listen to here along with the other student compositions.

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Anthropology Learning and Researching at QuB Life in Lockdown

I am sad because the wind destroyed my flowers: A Kathakali Workshop

By Tom Marshall, PhD Candidate in Anthropology

Kathakali is a Hindu temple acting tradition, originating in Kerala, South India. The repertoire of Kathakali are the stories from sacred texts such as the Mahabharata and Ramayana. I was first mesmerised by Kathakali when I saw a performance in 1995, lasting a few hours. I understood then from the pre-performance talk that the actors told stories through the movement of their bodies including complex face often frenetic eye movements. It takes years to hone Kathakali skills. When the HAPP Experience Team organised a one-hour Kathakali workshop in February 2021, I had to take part.

Students and lecturers joined our workshop tutors, Kalamnadalam Vijayakumar (Vijay) and Kalamandalam Barbara Vijayakumar (Barbara) via a zoom link to their studio – a performance room with no embellishments, simple grey fabric lined the walls. Vijay was not dressed like the performer in Image 1 or Vijay himself in Image 2 below. Barbara explained that “when an actor is in full costume they are no longer human but a representation of divinity. For that reason an actor cannot give a workshop or demonstration in costume. The spoken word is considered the language of humans and the Mudras [Kathakali sign language] are the language of the gods. The journey from dressing room to the stage is considered sacred as if the actor is travelling from heaven to earth during this time the actor must not be spoken to” (pers. comm.). Dressing in a full Kathakali costume and make-up takes hours of preparation.  Kathakali make up varies greatly depending on the character being performed (Images 1 and 2). The application of Kathakali make up skills takes years to master and Image 2 showcases just one instance of Barbara’s mastery. 

Image 1: Kathakali Performer, Kerala, 1995. Photo by the author.

Vijay and Barbara introduced us to Kathakali, providing a brief history of the sacred art form before we had the opportunity to learn a short performance from the master, Vijay. He explained that each word in a story has its own Mudra, Kathakali sign-language. However, unlike the sign-language that we may be familiar with to a greater or lesser extent, Kathakali signing is elaborate.  Arms, legs, cheeks and jowls, eyebrows and of course the eyes convey a story’s words.  During the workshop, Barbara disappeared off screen and gave us useful explanations about the movements made by Vijay throughout the session. After a short demonstration by Vijay, for example, she asked if he had acted as male or female character. We were further introduced to feminine and masculine variations in Kathakali as the actors need to embody female and male movements with clarity.  Traditionally, only males perform Kathakali, although some women have started to perform in India. Barbara is the first female Kathakali make-up [Chutti] artist.

Image 2: Vijay in full Kathakali Costume. Photo courtesy of Mark Bennett.

During the one-hour workshop, we were taught to perform the phrase I am sad because the wind destroyed my flowers. Hand, arm, leg and face gestures ranged from the delicate opening of the flower to the flailing arms representing gusts of wind. The accompanying rapid eye movements where, as Vijay demonstrated, seemingly impossible for us beginners. His eyeball dexterity demonstrated his many years of training and performing. On explanation, some of the movements, such as ‘flower’ were self-explanatory. Conversely, the simple word ‘because’ involved intricate hand movements which at first was difficult to perform. Nevertheless, I think we arrived at an amateur compromise. 

During the Q&A session after the workshop, Vijay and Barbara commented on the various ways in which they have adapted workshops, performances and costume displays to different contexts and settings across the UK. From 2010 onwards, they have also worked with Maruška Svašek, Reader in Anthropology at Queen’s University Belfast, on several of their Heritage Lottery funded projects (see Svašek 2016, especially page 9-13). 

After seeing Kathakali performed in India, I thought that one-hour would be insufficient to learn anything more than one or two performative elements.  However, Vijay is an expert performer and teacher.  He carefully and slowly demonstrated each movement.  We followed, repeated and repeated again.  As we moved from one movement to another, I worried that I would forget them.  However, Vijaya’s teaching expertise ensured that the movements were understood – the physical movements and their meaning.  While I did not perform to Vijay’s standard, I thought I was not too bad.  

The Kathakali workshop was a welcome distraction from the usual words on my computer screen and the digital pile of papers to read.  It was an hour of creative movement that differed to my allocated daily exercise around the now too familiar local spaces.  The workshop flexed my mind as I reminisced about seeing Kathakali performed in India – a creative distraction to my academic and lockdown routine.  Hopefully, soon, we will meet and engage with Kalamandalam Vijayakumar and Kalamandalam Barbara Vijayakumar in person. On their website Vijay enacts all the words used in the Kathakali acting tradition, and the video was filmed, edited and scripted by Barbara who also produced the voice over. The product of their combined forces is an impressive achievement.

Reference

Svašek, Maruška 2016. Introduction. Creativity and Innovation in a World of Movement. In: Meyer, B. and Svašek, M. (eds). Creativity in Transition. Politics and Aesthetics of Cultural Production across the Globe. Oxford: Berghahn, Pp 1-32. Freely accessible at:  https://www.berghahnbooks.com/downloads/intros/SvasekCreativity_intro.pdf