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Strategien rassismuskritischer Theaterarbeit
Series: Theater, 87

Sophiensaele Berlin. Förderinstitutionen erarbeiteten Instrumente, um sich der aktuellen Realität der deutschen Gesellschaft zu stellen. Die Kulturstiftung des Bundes hat das Programm 360°– Fonds für Kulturen der neuen Stadtgesellschaft entwickelt, in dem Migration in die Institutionen hinein- und durch Angebote für 1 Der Titel ist angelehnt an Sara Ahmeds Buch On Being Included – Racism and Diversity in Institutional Life. Ahmed, Sara: On Being Included. Racism and Diversity in Institu- tional Life, Durham

Racism – Is European Theatre White? Another important discourse in the context of theatre and migration is racism and exclusion of artists of colour in European theatre. This exclusion is in fact intersectional, i.e. overlapping forms of discrimination, the rare presence of fe- male, black or physically or mentally disabled theatre makers. Despite the inter- sectional discrimination, this paper will focus only on racism. Racism in this context is used in reference to Stuart Hall’s definition. Hall describes racism as the social practice of exclusion which is not

colonialism, of colonization and post-colonization, of racism and its interpellations, of racism and its capacities to produce bodies and movement- effects are constantly being ‘forgotten’ from critical discourse and from choreo- graphic practices? Is it possible that the political unconscious of European dance and European Dance Studies be the repressed strata of its recent and its current colonizing histories and colonizing modes of subjectivation? As if post-colonial theory was a matter exclusive to former or currently colonized populations; as if post

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Theatre: cultural policy concepts for the reform of the performing arts, 2014 (all Bielefeld); and IXYPSILONZETT a yearbook and a magazine for children and young people’s theatre (part of Theater der Zeit, Berlin). Dr Azadeh Sharifi read Germanic Studies, Philosophy and Law at the Ruprecht- Karls University in Heidelberg. She is doing her doctorate at the Institute for Cultural Studies at the University of Hildesheim. Her research interests are post-migrant theatre and racism and post-colonialism in theatre. From 2014 to 2015, she was a fellow at the

die Herausforderungen? 2 | Siehe: www.no-racism.net/noborderlab vom 14.06.2011. Franziska Bergmann: Gespräch mit Gin/i Müller226 Das Reizvolle, an diesen Schnittstellen zu arbeiten, ist für mich, dass es enorm wichtig ist, diese Bereiche nicht nebeneinander stehen zu lassen, sondern noch viel mehr Verbindungslinien zu schaffen. Zum Teil ver- stehe ich die Arbeit an den Schnittstellen auch als wichtiges strategisches Bündnis. Zur Wiedererlangung der Mittel des Tuns geht es in Theorie und Praxis um die Auseinandersetzung mit einer Politik der Performa- tivität und

director since 2006), has been crafting a bold signature in plays which Adrienne Sichel56 don’t shy away from topics such as serial killers, rape, racism and xenophobia in a township setting. Strong development work Development is another post-1994 buzzword. A prime example of how organi- cally proactive this can be is The Market Theatre Laboratory which celebrates its 20th anniversary this year. Co-founded by Barney Simon and John Kani in 1989 (who became The Market’s Managing Trustee until 2003 and is now the the- atre’s international ambassador) this

manner. He was not allowed to play with other children, so that in the end he just observed others’ behaviour. He says he used to be just shy, though that is not how he would describe himself today. But he finds it hard to follow conversations unless he is directly involved. After five minutes, he loses interest in what others have to say. Rolf C. Hemke204 Controversial hate tirade He says there is a funny story behind the accusation of racism, and laughs. “I was actually putting on a mixed-race piece called Interracial, but I couldn’t find any White actors in

racist scheme that debased ‘blackness’ and assigned Africans to the lowest social strata (Alleyne 2002: 84). Furthermore, the trauma of the Middle Passage, of slavery and the internalization of colonialist racism resulted – according to Martin- iquan psychiatrist Frantz Fanon – in a psycho-pathological personality complex. In his influential study Black Skin, White Masks (1952), Fanon has thus described the diaspora’s psychological trauma in terms of a “black skin, white mask” dichotomy. In this work, he first addressed the paradoxical absence of an African

Theaterpädagogik, die einer zur ‚Kulturalisierung des Theaterpädago- gischen‘ tendierenden ‚Interkulturellen Theaterpädagogik‘ mit Skepsis begegnet. Mit dem hier vorgeschlagenen Programm der ‚Gegenstimmbildung‘ lotet sie Möglichkeiten, Varianten und Grenzen antirassistischer Artikulation und Inter- vention aus und setzt diese in Szene.4 Antirassismus verstehe ich mit Alastair Bonnett nicht nur als „those forms of thought and/or practise that seek to confront, eradicate and/or ameliorate rac- ism“, sondern grundsätzlicher als „anti-essentialist political force that acts to