<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<style type="text/css" style="display:none;"> P {margin-top:0;margin-bottom:0;} </style>
</head>
<body dir="ltr">
<div style="font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);" class="elementToProof">
DEAR COLLEAGUES,</div>
<div id="divRplyFwdMsg">
<div style="direction: ltr;"> </div>
</div>
<div style="direction: ltr; text-align: left; line-height: 115%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);" class="elementToProof">
<b>Performance and Migration (THE IFTR and CATR WG) is pleased to announce our upcoming online seminar scheduled for 28 January 2026, 9 am EST to 11.15 am EST (3 pm CET to 5.30 pm CET). The focus of this meeting is Performance and Migration: Practice </b></div>
<div style="direction: ltr; text-align: left; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(200, 38, 19);" class="elementToProof">
<b>ZOOM LINK : </b><span style="color: rgb(0, 0, 0);"><b><a data-auth="NotApplicable" originalsrc="https://uottawa-ca.zoom.us/j/94194083745?pwd=E2JLw4DzTXfRJuVEepQfBGbaSxIa8H.1" class="x_OWAAutoLink" id="OWA7fa55a7a-366d-6452-7d91-558424eacd7c" href="https://uottawa-ca.zoom.us/j/94194083745?pwd=E2JLw4DzTXfRJuVEepQfBGbaSxIa8H.1">Https://uottawa-ca.zoom.us/j/94194083745?pwd=E2JLw4DzTXfRJuVEepQfBGbaSxIa8H.1</a></b></span></div>
<div style="direction: ltr; text-align: left; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);" class="elementToProof">
We hope many of you can make it. The following is our proposed schedule and the list of bios and abstracts </div>
<div style="direction: ltr; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><br>
</b></div>
<div style="direction: ltr; text-align: center; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(200, 38, 19);">
<b>PROPOSED SCHEDULE</b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> 9 am – introduction </b>(<b>Yana Meerzon, Sheetala Bhat and Steve Wilmer</b>)</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>9.15 am</b> – <b>Fabio Araújo Fernandes, </b>independent researcher<b>, </b>“The Entwining of the Southern Wind: Capoeiragem, Flows, and Performance”</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>9.30 am – Celina de Sá, </b>University of Texas at Austin<b>, </b>“Flamenco Fugitivity: Protecting Black Life Through Performance and Activism in Spain”</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>9.45 am – Dwaipayan Chowdhury, </b>Freie Universität, Berlin<b>, </b>“To remember Names after Hanau: Scenes from the 7th Berlin Herbstsalon”</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>10 am - Q&A</b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>10.15 am – Olga Danylyuk, </b>Royal Central School of Speech and Drama<b>, “</b>The Auditory Imagination”</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>10.30 am – Saba Zavarei, </b>Goldsmith College, U.L.,<b> “</b>Walking Elsewhere”</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>10.45 am – Annelis Kuhlmann</b>, Aarhus University, “Dramaturgies of wandering between Greenland and Denmark”</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>11 am - Q&A</b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>11.15 am – Finish</b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; text-align: center; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><u>Abstracts and Bios in order of presentation</u></b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Fabio Araújo Fernandes</b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><i>The Entwining of the Southern Wind: Capoeiragem, Flows, and Performance</i></b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Abstract</b>:</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
This presentation explores the possibilities of thinking performance, migration, and pedagogy through the interstitial experience of Capoeiragem — a space of friction and dialogue created by the practice of capoeira — situated in-between traditions, identities,
and cultural contexts from the Brazilian Global South. These winding and multi-directional pathways, emerging from the wounded heart of the colonial process, are traced here through a prism that is at once performative and pedagogical. Capoeiragem, in this
sense, functions as an educative space where embodied learning, cultural negotiation, and collaborative problem-solving converge. In postcolonial migratory contexts, Capoeiragem adapts to dynamic social and spatial flows, allowing participants to experience
the tensions inherent in the in-between spaces of cultural difference, engage with multiple forms of knowledge, and co-construct learning experiences. Ethnographic observations, participatory practice, and performance analysis illustrate how the practice fosters
dialogical engagement, experiential learning, and the production and circulation of memory — understood as a presentification of the past, shaped by current experiences — as well as skills and imagination. By tracing intersections between movement, friction,
pedagogy, and migration, this essay positions Capoeiragem as a living laboratory for exchange and embodied knowledge, offering insights into how performative practices mediate complex social realities and provoke negotiation within hybrid and fluid cultural
spaces.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Bio:</b> Fabio Araújo Fernandes has built a career characterized by dialogue across diverse fields of knowledge. With a degree in Information Technology, he brought a structured and analytical perspective to his academic trajectory, which was further expanded
through a Master’s in Development Planning and a PhD in Anthropology. This interdisciplinary background underpins his experience integrating academic research, project management, and teaching in Brazil and Germany, with particular attention to Capoeiragem
as a practice, post-colonialism as reflective critique, and ethnography as a method. In recent years, he has focused especially on teaching and managing in multicultural and digital contexts, addressing themes such as cultural pedagogy and socio-emotional
development — following a path that values both creative experimentation and the building of bridges across diverse forms of knowledge.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Celina de Sá</b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><i>Flamenco Fugitivity: Protecting Black Life Through Performance and Activism in Spain</i></b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Abstract:</b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
Flamenco’s underexplored Black and African history serves as key evidence of Blackness as simultaneously foundational and marginal to the idea of Spain. People of West and Central African and Afro-American descent have circulated through Spain as enslaved and
free people for centuries. However, public Spanish discourse suggests that the recent spike in Senegalese migration in recent years constitutes a radically new Black presence. At the same time, Spain’s prized national cultural symbol, flamenco, is also being
newly explored as having diverse African influences. My paper looks at “flamenco fugitivity,” which I frame as both emerging transnational efforts to locate a Black presence in the Spanish/Gitano-dominant genre of flamenco music and dance, as well as an embodied
method to investigate erased Black historical presence in part to defend a contemporary one. Through examining the work of flamenco artists, and the landscape of activist organizations, some founded by African migrants, I will examine the productive contradictions
of newly arrived Black migrants and other Black foreigners claiming Spain as their own. I argue that “flamenco fugitivity” reveals a shift in Middle Passage and migration epistemology, in which new arrivals pursue rights not in humanitarian frameworks, but
based on claims they were already here.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Bio: </b>Celina de Sá is an Assistant Professor of Anthropology and an affiliated faculty member in the African and African Diaspora Studies Department, the Tereza Lozano Long Institute of Latin American Studies, and the Performance as Public Practice Program
in the Department of Theater and Dance at the University of Texas at Austin. She received her PhD with distinction at the University of Pennsylvania in Africana Studies and Anthropology, and published her first book,
<i>Diaspora Without Displacement: The Coloniality and Promise of Capoeira in Senegal</i>.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Dwaipayan Chowdhury</b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><i>To remember Names after Hanau: Scenes from the 7th Berlin Herbstsalon</i></b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
Abstract:</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
The latest Berliner Herbstsalon at the Maxim Gorki Theater, which concludes its twelve-year run over seven editions in 2025, centered on the past of the earlier generation of Turkish migrant workers in Germany. Its curatorial aim was to document the multifaceted
lives of the Turkish diaspora over six decades while aligning their experiences with the broader hopes and despairs of migrants from other countries living in Germany. To this end, the festival presented a collection of one hundred and six artistic pieces,
alongside the ambitious theatrical production of Ersan Mondtag’s Das rote Haus. Running through these art interventions was a central concern: what it means to remember in a migrant context, specifically in Germany today, and how this process is fraught with
anxieties that unsettle their present and future. To elucidate, this paper focuses on Ülkü Süngün's two stagings, Takdir and Sisha Bar, which responded to the Herbstsalon’s theme and have been staged in the main entrance and the Studio R foyers respectively
at the Maxim Gorki theater. In Takdir, Süngün orchestrates a collective, vocal act of remembrance, compelling the audience to commemorate the victims of the racist National Socialist Underground (NSU) murders (2000-2007). Conversely, Sisha Bar constructs an
intimate, spatial memorial; here, visitors are invited to smoke hookah before video installations in a bar that commemorates the 2020 Hanau hate shootings. Despite their aesthetic differences, both of Süngün’s works share a foundational gesture: the act of
naming and thereby re-locating the deceased in the wake of a present charged by the ghosts of anti-migrant racist violence. This paper, therefore, analyzes how Süngün adopts a politics of naming as the core of a unique memory work that cuts across both projects.</div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
Bio: Dwaipayan Chowdhury completed his Bachelor of Arts in Mass Communication at St. Xavier’s College, University of Calcutta, Kolkata. He went on to complete his Master of Arts degree in Comparative Literature from Jadavpur University, Kolkata. Simultaneously,
he was involved with the non-institutional amateur theatre movement in Kolkata from 2005 to 2011, which led him to pursue a Research Masters in Theatre and Performance Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. He
joined the school as a PhD candidate and worked as a teaching assistant for the World Theatre course. He obtained the UGC Research Fellowship and qualified the National Eligibility Test for lectureship. He was also awarded the Erasmus Mundus India to Europe
Scholarship for Doctoral Research in Theatre and Performance Studies from the University of Amsterdam for the 2014-15 academic year. He completed his Ph.D. in 2023 from the Freie Universität Berlin on “Method as Embodiment – Model, Ideology, Aesthetics: Three
Encounters with Bertolt Brecht in the Kolkata theaters”. </div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Olga Danylyuk</b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><i>The Auditory Imagination</i></b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Abstract</b>:</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
This seminar explores a dramaturgical practice that engages with the sensory memory of sound. My research investigates how sound operates as both an image and a sensory trigger, generating embodied recollections that transcend verbal narration. While literary
language often serves as the privileged medium for articulating traumatic experience, my performance practice turns instead to the language of the senses: listening, touching, and remembering through the body.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
This approach encourages reflection on how we perceive and engage with memory through auditory experience, not as a fixed trace of the past but as an ongoing presence that reemerges through emotional and embodied recall. The auditory realm has a unique place
in traumatic war experiences: it is where the fleeting becomes permanent, and the ordinary or terrifying sounds of everyday life in a war zone are transformed into lasting psychological imprints, yet also carry echoes of home and safety. One may flee war,
but one’s heart continues to long for home.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
The presentation draws on performative practices with Ukrainian refugees to explore what sounds make our memories. From the sonic fragments of daily life and the haptic memories of surfaces and objects, participants devise stories that emerge from sound and
sensation rather than words.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Bio</b> - Dr. Olga Danylyuk is a British Academy Researcher at Risk Fellow in RCSSD, London, where she completed her PhD under the title:
<i>Virtually True’. Intermedial Strategies in the Staging of War Conflict </i>(2015). She continued her fieldwork as a volunteer with the CIMIC unit in the war zone in Eastern Ukraine. Her performative research resulted in large-scale performances with teenagers
from the frontline towns: <i>Letters to an Unknown Friend from New York </i>(2018) and Contact<i> Line
</i>(2020)<i>. </i>Her new<i> </i>documentary performance<i> A Visit to the Minotaur</i> was presented at Voila Europe Festival (2022), London, followed by street performances:
<i>Evacuation 2022</i>, presented in Prague, Brussels, Paris (2023) and <i>EMETA: The Legend of Golem</i> presented at the Golden Lion Festival in Lviv (2023). </div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Dr Saba Zavarei </b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><i>Walking Elsewhere</i></b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Abstract:</b></div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
In this presentation, I will share insights from my recent workshop series Walking</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
Elsewhere (November/December 2025, London), which investigates the relationship</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
between the body, embodied experience, and spaces of exile. Designed as six</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
interconnected workshops, the series explores how the displaced body navigates</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
and negotiates territory, agency, and belonging within unfamiliar environments—</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
always in dialogue with the memory of familiar ones. Through collective and</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
individual walking practices, participants engage with urban textures, soundscapes,</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
and gestures of movement that reveal how exile is lived and felt through the body.</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
This is a practice-based research project that began with my own experiences of</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
displacement and has evolved into a participatory practice in which I embody space</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
through others’ bodies. It extends the ideas introduced in my essay Concrete</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
Memories: On Exile and the City, shifting from architectural reflection to embodied</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
investigation. Ultimately, I aim to reflect on how walking as artistic research can</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
reveal the layered geographies of exile—where movement, memory, and belonging</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
intertwine across urban space.</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; line-height: normal; margin-top: 1em; margin-bottom: 0cm; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Bio: </b>Saba Zavarei is an artist, writer and researcher. At the intersection of performance studies and human geography, she explores the relationship between bodies and public spaces, and how bodies produce, use or transgress their everyday spaces.<b>
</b>She is an associate lecturer at Goldsmiths, founding editor at Konesh, and a visiting<b>
</b>research fellow at IAS. Her forthcoming book (Cambridge Uni Press, 2026), based on<b>
</b>her doctoral thesis, explores how Iranian women create emancipatory spaces through transgressive everyday performances</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Annelis Kuhlmann</b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b><i>Dramaturgies of wandering between Greenland and Denmark</i></b></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Abstract: </b><i>Inuk Ingerlaartoq (The wandering man) </i>premiered in the House of the North Atlantics, March 2025<i>.
</i>In October 2025 it was reperformed in the same space, followed by a tour to the Suialaa Festival in Nuuk. It is the latest ensemble production by the Copenhagen based theatre group
<i>Det Olske Orkester, </i>and the actors came from both Greenland and Denmark.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
This performance is based on a long practice research process, investigating the prejudices, which a Danish national self-narrative has practiced in its relationship to Greenland. The trauma of the forced migration to Denmark, which many Greenlanders have experienced
since the 1950s, has been formulated as a journey to “a culture with perspectives for the future”. This ideological ‘argumentation’ from the Danish government still is in the official rhetoric.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
This presentation has focus on the ‘dramaturgy of wandering’ as a performance genre, which problematises the nostalgia and the trauma of the migrant as well as the problematic vision of the coloniser.</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
</div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b>Bio: </b>Annelis Kuhlmann<b> </b>is an Associate Professor in the Department of Musicology and Dramaturgy at the School of Culture and Communication, Aarhus University, Denmark. Since the 1990s, she has extensively published on the themes of cross-border
performance as cultural heritage and theatre. Her recent works include “Bartering and Cross-Border Embodied Performances,” featured in
<i>Performing Memory: Corporeality, Visuality, and Mobility after 1968</i> (edited by R. Dieter and L. Passerini), and “Hamlet and Its Danish Double: The Historical Performance as a Medium for a Utopian Monarchy – A Crooked Mirror of Local Political Realities”
(<i>Nordic Theatre Studies</i>, vol. 34, no. 2, 2022). She also co-edited and contributed to
<i>Grønlands Teaterhistorie – på vej</i> (Greenland’s Theatre History—On Its Way, 2019). Annelis’ latest publication on the performing Greenland theme is, ‘Strawberry fields (not) forever – iceberg reflections on performing Greenland’ in
<i>Critical Stages, </i>2024:30: <i> </i><a data-auth="NotApplicable" originalsrc="https://www.critical-stages.org/30/strawberry-fields-not-forever-iceberg-reflections-on-performing-greenland/" class="x_OWAAutoLink" id="OWAf23ab7c8-8dd5-3535-672a-7ca865290930" href="https://www.critical-stages.org/30/strawberry-fields-not-forever-iceberg-reflections-on-performing-greenland/">https://www.critical-stages.org/30/strawberry-fields-not-forever-iceberg-reflections-on-performing-greenland/</a></div>
<div style="direction: ltr; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; line-height: 150%; margin-top: 1em; margin-bottom: 1em; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<b> </b></div>
<div style="direction: ltr; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<br>
</div>
<div id="x_Signature">
<div style="direction: ltr; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<br>
</div>
<div style="background-color: rgb(255, 255, 255);">
<p style="direction: ltr; margin-top: 1em; margin-bottom: 1em;"><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: rgb(0, 0, 0);"><b>Yana Meerzon</b></span></p>
<p style="direction: ltr; margin-top: 0cm; margin-bottom: 0cm;"><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: rgb(0, 0, 0);">Professeure titulaire| Full Professor</span></p>
<p style="direction: ltr; margin-top: 0cm; margin-bottom: 0cm;"><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: black;">Directrice des études théâtrales | Director of Theatre Studies</span></p>
<p style="direction: ltr; margin-top: 0cm; margin-bottom: 0cm;"><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: black;">Département de théâtre | Department of Theatre<br>
Université d’Ottawa | University of Ottawa<br>
135 Séraphin-Marion, bureau 304B<br>
Ottawa (ON), Canada, K1N 6N5</span></p>
<p style="direction: ltr; margin-top: 0cm; margin-bottom: 0cm;"><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: rgb(36, 36, 36);"><a style="margin-top: 0px; margin-bottom: 0px;" data-auth="NotApplicable" class="x_ContentPasted0 x_OWAAutoLink" id="OWAf87df5e6-72bf-9218-a271-6d01d26ab0d5" href="https://uniweb.uottawa.ca/members/270">https://uniweb.uottawa.ca/members/270</a></span></p>
<p style="direction: ltr; background-color: white; margin-top: 0cm; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman", serif; font-size: 10pt; color: rgb(32, 31, 30); background-color: white;"><a style="margin-top: 0px; margin-bottom: 0px;" data-auth="NotApplicable" originalsrc="http://www.critical-stages.org/19/the-essay-section-la-section-des-essais/" title="http://www.critical-stages.org/19/the-essay-section-la-section-des-essais/" class="x_ContentPasted0 x_OWAAutoLink" id="OWA4aa3b457-42ec-1c95-9900-b3813143f005" href="http://www.critical-stages.org/19/the-essay-section-la-section-des-essais/">Editor.
Critical Stages/Scènes critiques</a></span><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: rgb(32, 31, 30);"><br>
</span><span style="font-family: "Times New Roman", serif; font-size: 10pt; color: rgb(12, 100, 192);"><a style="color: rgb(12, 100, 192); margin-top: 0px; margin-bottom: 0px;" data-auth="NotApplicable" originalsrc="https://www.springer.com/series/17066" title="https://www.springer.com/series/17066" class="x_ContentPasted0 x_OWAAutoLink" id="OWA3f0db841-ec32-e6a0-ca4e-3649db2ff15b" href="https://www.springer.com/series/17066">Co-Editor.
Palgrave Studies in Performance and Migration (book series)</a></span></p>
<p style="direction: ltr; background-color: white; margin-top: 0cm; margin-bottom: 0cm;">
<span style="font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);"><br>
</span></p>
<p style="direction: ltr; background-color: white; margin-top: 1em; margin-bottom: 5pt;">
<span style="font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(32, 31, 30);"> </span></p>
<div style="direction: ltr; font-family: Tahoma, Geneva, sans-serif; font-size: 12pt; color: rgb(0, 0, 0);">
<br>
</div>
</div>
<div id="x_divtagdefaultwrapper">
<div style="direction: ltr; font-family: Tahoma, Geneva, sans-serif; font-size: 10pt; color: rgb(0, 0, 0);">
<br>
</div>
<div style="direction: ltr; font-family: Tahoma, Geneva, sans-serif; font-size: 10pt; color: rgb(0, 0, 0);">
<br>
</div>
</div>
</div>
</body>
</html>