Wednesday, November 9, 2016

Borders Resurfacing: Water and Borders

I was working on some writing for a river piece that I've been working on in my yoga for writing workshop and the person who read it felt it could be about refugees.  Which is interesting because I already felt the river piece I'm working on could be connected to Borders Resurfacing.  So,  I offer this metaphorical story of a river instead of a specific personal or political one.  The gist of the story is below along with some snippets of short movement explorations I made this summer, as well as some first draft writing in quotations.

I found the story in the book "An Ordinary Life Transformed."  The book says it is a Sufi story, but I haven't found any other sources or versions yet.  I'm still looking!

Below is my rendition of it.  All of the video links below have the same password:  river


Reaching river...

A joyful burbling river, traveled towards their destiny.  Overcoming all the obstacles in their way with ease. 

River traveling from Shyamala Moorty on Vimeo.

Until they are stopped by a desert and begin to doubt themselves, each rivulet wanting to take a different approach.

  Desert desperation from Shyamala Moorty on Vimeo.

 "Oh that we could reverse our waters' flow and go back the glacier we once were, or choose another path along our many pronged journey.  But there’s no going back.  Even if we wanted to return, the force of children and grandchildren, so many generations, have already melted and follow us.  Would that we weren’t leading them to this certain end.  But if we try harder, we just loose ourselves more.  


We hear the rushing of the water behind us, the quiet deadness of the sand in front of us.  The vultures cawing in the distance as if telling us of the certain danger ahead.
We see nothing but grains of sand reaching into the empty sky.  
We taste the dry dust, coughing into our throats as we choke and cough and splutter out our hopes, only to forget what they were.
We feel light headed, like we are changing, despite ourselves.  

How do we allow ourselves to change without loosing who we are?  We have always been the traveler over boulders and stones, around great unknown bends, through different foliage.  We have seen valleys and meadows, but never, until now have we faced this dry harsh sand that devours us whenever we try to pass.  Is it truly the valley of death for us ?   
We feel our very atoms wanting to separate in this parching heat…but we cling desperately to an uncertain existence.  Because it is all we knew, because it is all we have known.  But are we still making sense?  Our hydrogen filled heads are vibrating so much that we are feeling dizzy, getting lighter until, popping off from from our Oxygen filled bodies, we are suddenly floating free, ethereal, is this really happening?  Cooler as we rise, release the agony and burden that kept us down, we have no choice but to let go all that weighted us down.  Gathering together again, as if we’ve never met before our heads and our hearts all mixed up among one another, we buzz in the mist of a cloud."

The river "surrenders" and gets evaporated by the sun and becomes a cloud:

  Evaporation to cloud from Shyamala Moorty on Vimeo.
 
 The cloud travels over desert, and rains down into the ocean on the other side. The river becomes one with their larger selves, mixing and intermingling with the multitude of other rivers and drops from around the world.



---------

Also there is this writing from the desert's point of view:


-->
"I am thirsty, but am afraid of the impending waves.  They lap at my sands, cooling, wetting my pebbly lips, but I retract and gasp rather than being able to enjoy.  It is too risky for My sands are delicate, dry, and easily washed away with wind and water.    So, I cannot, will not, let those waters in.  Drops turn into rivulets, rivulets turn into floods.  What if the waves over take me and I am submerged entirely…drowning. 

I am surrounded by all sides by this never ending threat.  Ocean on one side, lapping greedily at me, pulling my very body into it little by little until I begin to loose my identity into the depth of those icy waters.  On the other side, a river is pounding into me, trying to cross me and reach the ocean.  I cannot let it divide my home, separating me from my loved one, when we have been here since memory started. 

Although my dry cracked earth is parched, I cannot risk letting the flow of this unpredictable frothy element pull me under with it.  So I stay strong fortifying myself against each incoming wet rush, and dredge up my bravest, hardest, driest soldiers to drink it up before it can eat away at my precious rolling hills.  Instead, I’ll take the wasteland of dry brittle tumbleweeds, for at least with those my sands can catch a ride and then be released freely at a whim, rather than being swept up beyond my control, sucked into whirlpools of certain destruction. 

I yearn for a life where I do no not feel constantly threatened by these wild and uncertain elements.  If only I could be left in peace.  Some may call my life boring, dry, but it is predictable, it is practical, it is in tune with the one and only almighty sun.  We don’t need the pesky water to mess up our ways, we get enough moisture from the passing clouds, and I have secret underground chambers where I have imprisoned vast amounts of water in a way that I can control its wily ways and keep it in check to be used properly for the good of all my creatures.  This is the law of my land and all my sands must obey and fall in line or they risk their existence."











Monday, October 10, 2016

ReSurfacing Borders Round III - Meena's links

I started a new collaboration with an old friend Sita Frederick. Sita has been working on a performance work "Otro Lado" dealing with issues of borders, statelessness, migrant bodies, cages, etc. for the last few years. I'm designing media projections for her show in January 2017. She sent me this photo essay as part of getting the ball rolling in our creative collaboration:

http://www.theatlantic.com/photo/2015/11/citizens-of-nowhere/414741/

Also, I was in Hollywood this past weekend for a youth film festival and there was a musical and social justice pop-up happening on the street. Aztlan Underground, a musical group with indigenous roots in the Americas, was playing. Powerful. One song that stood out to me was a call and response with the refrain "we didn't cross the border, the border crossed us."

Here is a youtube video on them performing the song (at a different time).

https://www.youtube.com/watch?v=_mQ4KUojVVI

And lyrics to the song:

http://www.lyricsfreak.com/a/aztlan+underground/decolonize_21030867.html


Resurfacing Borders Round III Babli


Dear all, here my visuals (one is a conversation with choreographic examples- there are several, but its possible to skip through)

This is a project in Berlin

Queens against Borders
https://vimeo.com/155130067

And the choreographer of above project is one of the discussants in this (longer but interesting) conversation

https://www.youtube.com/watch?v=oIho7v5aABU

Friday, October 7, 2016

Resurfacing Borders Preliminary Round 3: Cynthia

Here are two sets of links to engage for this round.  Watch at least one from each project.

I. Vertigo Sea by John Akromfah
This 2015 work is a 3-screen video installation on the sea's relationship to migration, slavery, and colonialism.
Excerpt 1: https://vimeo.com/143478746 (3:35)
Excerpt 2: https://www.youtube.com/watch?v=p6tbMrbvWwc (4:01)

Background Material:
Exhibition Guide: http://www.arnolfini.org.uk/whatson/john-akomfrah-vertigo-sea-1/JohnAkomfrahVertigoSeaExhibitionGuide.pdf

II. Migrant Bodies
This was a multiyear project bringing together 16 artists (dancers, writers, visual artists) from Europe and Canada to address the theme of migrant bodies.  Watch one of the videos below, or pick something else from the video documentation (those of you who know French will be able to understand more of the videos than me).

Lee Su-Feh รก Vitry-sur-Seine (6:20): https://vimeo.com/123493398

Alessandro Sciarroni, "Turning" (23 min): https://www.youtube.com/watch?v=0Bfp2SwY8Mc

More documentation available at:
http://www.migrantbodies.eu/results.html (video)

Wednesday, October 5, 2016

Re-imagining Citizenship Revision "10 little"

I got inspired to add some context to my study about the "10 little..." because of Meena's feedback on my last assignment. I am grateful to Iyatunde who filmed it for me and helped as an outside eye.


10 little from Shyamala Moorty on Vimeo.
password: citizenship

Questions:
1.  What is your experience watching this?

2. Do you feel this revision addresses Meena's comment: "This study also makes light to me of the tension between the different uses of the word Indian in a colonial context, but is specific to Shyamala's positionality as a South Asian woman. Unless maybe there is a way to FLIP the original meaning of the song but smake it specific to people's identity and history"

Is there anything else that you imagine I could do to address the above comment? 

3.  Are there any other red flags or questions this brings up for you?

4. Do you have any ideas of what I should wear?  Iyatunde thought of a t-shirt with #noDAPL #BLM (of course the blacklivesmatter is not addressed in this section of our piece just yet).

5. Any other thoughts?

Monday, September 19, 2016

Re-Imagining Citizenship, Round 4: 10 Little...

I invited in Iyatunde Folayan as a collaborator and we are planning to extend my original study "Indians" (section 3a below) into a duet that will include section 3b below as well as some new spoken word and multimedia ideas.  

Aside from the performance aspect, we intend to create a two-part interactive process for families:  Part one will be just for the parents to witness the performance piece, share their own relationships with the song and discuss ways to find language to engage children when faced with the violences on black and indigenous communities.  Part two will include both the parents and their kids and we imagine it looking something like this:

What:
Interactive, inter generational, non-traditional family-centered creative process to examine and re-frame the 10 little song.

When:
Nov 5, 3pm.  

Where:
Manazar Gamboa Community Theater 1323 Gundry Ave, Long Beach, CA 90813 (currently reserved but may consider an more lighted art gallery - the theater is dark).

Why:
The intention of this piece is to examine the story/song Ten Little Indians, also known as Ten Little Niggers, in an effort to re-frame, decolonize and humanize storytelling and the messages within. The goal is to work together with an inter generational community including Native American and African American individuals and families to create an alternative to the Ten Little Indians.  This new collaborative story, song or chant will intentionally nourish our children’s imaginations with positive imagery that stems from personal family stories rather than carelessly indoctrinating them with supremacist ideas about race.  The impetus for this was a response to the Post Natyam Collective’s creative process “Re-Imagining Citizenship.”

How:
FEEDBACK GROUP:  in early Oct. we will gather artistic and activist individuals, especially from the Native American and African American communities, to share our ideas with and get feedback from to strengthen the experience.  This will either be at the venue or in an informal home space with snacks.  

INTENTIONAL INVITATION: will be sent to 10 individuals with their chosen families (each one will be encouraged to bring a child)
Invitation will include some background on the “10 little...” song as well as the purpose of the gathering.

GATHERING:
  1. Name Gesture Rhyme intro:
    say your own name, intro all in your "family" and do name gesture game with child's name:  say name and a little phrase that rhymes with name and a gesture to go along with it, like "Roshan, Roshan rides on the ocean."  Everyone repeats.  Add in all the kids names till you have a little chant.

2. storytelling (each group shares an object that represents their family, legacy, history, something they want to pass on to their kids and a story that goes with it.) 

3. a. optional:  perform the "10 little" portion of Shyamala's study "Indians"

Indians from Shyamala Moorty on Vimeo.
password:  citizenship
(not the This Land is your land part)

3. b.  One or several people Sing/or hum “10 little, 9 little, 8 little (pause instead of saying Indians), 7 little 6 little 5 little (pause), 4 little 3 little 2 little (pause), 1 little (Pause)”
The song or hum will be repeated starting loud and getting quieter as each group stands to “Say their name. “ Ideally there are 10 groups in total and we will include children’s names, as well as African Americans, and Native Americans lost to current police violence.  The purpose is to match the current situation to the historical roots of the song but not say outloud to the kids what either is about, the background will be in the invitation, and parents of older kids may choose to explain or not)
Ex: Number (1-10), Name, place (of death), age, and maybe one piece of info to humanize their identity
1. Aiyana Jones (Detroit, 8 yrs old, ?),
2. Tamir Rice (Cleveland, 12 years old, ?)
3.
etc.

3. Circle debrief:
-what did it feel like to juxtapose the singing and say say their name
-or what is your memory/experience/feelings about the song? Who passed this on to you?

4.  Walking rings, sounding and inward meditation moment, clearing
-Carrying their object, groups will walk around in one large maze of ring circle paths made with stones or drawn on paper the floor.  The ring circles are inspired by ritual objects by the KRU people (see info below) (perhaps juxtaposed with a medicine wheel, 4 stages of life, 4 directions) in a clockwise direction. As each group adds into the circle they add in a vocal sound to repeat until a group sound score is created.  Purpose to clear our minds of the “10 little…” and to meditate on our object stories.
Here are examples of the rings:
KRU WATER SYMBOL Water_Spirit_02.jpgKru-ring-origin-unkown.JPGWatergoden.jpg
Information on the KRU rings:  
"A society that loses its symbols loses it's identity and in the process loses touch with itself." These are ritual objects created and used by the KRU people of West Africa (Ivory Coast, Liberia, Nigeria) region. They are known for being expert seafarers and these were considered both ritual objects and currency.  The KRU people refused to participate in the TransAtlantic Slave Trade and were known by the Europeans if captured to have less value because they refused to be slaves, fought or would kill themselves. The power these rings carry in meaning include the ability to stop wars, heal the sick. They can be called 'tien' and be protectors or guardians.

5. Art making (visual and rhyme)  
-Each group will find a personal space within the ring (can spread to join others) to place their family object.  Once there the group sound score will end and we will play recorded live drum to provide a beat.

-The children will be provided fingerprint pads and paper to create finger print art that tells the story of their family object, or that is a rendition of the object itself (the thought is to create something positive out of our identity markers rather than fingerprinting by the state), and/or crayons to color within the ring, or books with positive messaging (ex. A is for activist, Counting on Community, etc.) If they are too young, perhaps they run around within the ring, or play and move the rocks.

-Adults create a 2- line rhyme or couplet for the number they said for their “say their name section”  inspired by the family legacy object story.  
    Ex.  

6. sharing of the childen’s art and adults rhymes
All learn  the chants in order of the numbers and create new chant together!

----------------------------------------------------------------------------


Questions:
1. What interests you most about this process?
2.  Does anything confuse or you/need clarification?
3. Are all the steps of the process ok for kids?  If not, how might we modify them or should we take them out? 
4. Is it too complex?  If so, how might it be simplified without loosing the connections to the 10 little song?
5. What red flags exist that might be misinterpreted or taken as offensive?
6. Is it useful to include all or a part of Shyamala’s study “Indians” (perhaps under a different title) either as a link in the invitation or done live before the  “say their name” portion?  https://vimeo.com/163181158 password:  citizenship

Saturday, September 17, 2016

ReSurfacing Borders: preliminary round ii

Here are links I am curious about. Themes that came up for me are borders, xenophobia, Europe, visual culture.

https://www.euractiv.com/section/global-europe/news/un-refugee-chief-worrying-climate-of-xenophobia-in-europe/

http://truth-out.org/buzzflash/commentary/xenophobic-hate-and-militias-grow-in-europe-too-in-hunt-for-refugees
"Mobility and migration in film and moving-image art" by Nilgun Bayraktar


http://www.tandfonline.com/doi/full/10.1080/1369801X.2015.1106962

Babli or Cynthia or Shy, since you are affiliated with a college or university I wonder if you can access the book in question in this book review, or the films they are analyzing:

http://www.tandfonline.com/doi/abs/10.1080/20403526.2016.1217639?journalCode=rtrc20

Specifically I'm curious if any of you have access to these:

Ayse Polat's experimental short film "Countess Sophia Hatun" 1997

Fatih Akin's film "Edge of Heaven" 2007
I found the US trailer
https://www.youtube.com/watch?v=i8rhDyhIloM
Here is another trailer
https://www.youtube.com/watch?v=mdufEvwgt3w

and the last scene!

https://www.youtube.com/watch?v=YQ56jlVi5zs

Resurfacing Borders_ Preliminary Round II_ Babli

Dear all, I know these video are long.....
But I think the comparison between the two State of the Union addresses (2015/2016) is interesting- if you can't listen to both fully, it would be great if you can skip through to get a sense of how Migration/border, etc in particular is being talked about in both - with regard to the idea of resurfacing.


State of the Union 2016

Video: https://www.youtube.com/watch?v=pqeJx11Mvkg

(this is the same speech- only the english translation, might be easier to listen, but in the original above the switching between languages is interesting. In this one, seeing him speak and hearing female voice is a nice touch :)  : https://www.youtube.com/watch?v=8fgCB_0hjHA)

The speech was just given a few days ago. The full transcript is not online yet.

Press release Summary of the speech:
http://ec.europa.eu/news/2016/09/20160914_en.htm

Summary of Border Policy
http://europa.eu/rapid/press-release_IP-16-3003_en.htm


State of the Union 2015

Video:
https://www.youtube.com/watch?v=b9kk_vwiUY4


Full transcript for reference:
https://ec.europa.eu/priorities/sites/beta-political/files/state_of_the_union_2015_en.pdf

Wednesday, August 31, 2016

Sandra's and Johanna's talk at Tanzkongress 2016: Traversing the Contemporary: Intertwined Practices of Contemporary Dance in Germany

A video of the talk Johanna and I gave at Tanzkongress in Hannover in June 2016.

Unfortunately the beginning is cut off.....


Traversing the Contemporary from Tanzkongress 2016 on Vimeo.

Resurfacing Borders Preliminary Round II_Cynthia

Please read the following article, "Fences: A Brexit Diary," by Zadie Smith:
http://www.nybooks.com/articles/2016/08/18/fences-brexit-diary/

And nayirrah waheed's poem from her book, salt:


Thursday, August 18, 2016

blood run performance

Here is the footage of blood run from my performance at Highways in June 2016!

password: "bloodline"

Saturday, August 13, 2016

ReSurfacing Borders Preliminary Round_Meena

So my links for this 'preliminary round' of ReSurfacing Borders refer to MIA's song and music video "Borders." Please re-read lyrics, re-watch the video, and I found these two articles about it. If you have seen/read any other good/better articles about this video please forward! Let's chat on August 24th!

http://www.warscapes.com/opinion/mia-s-borders-refugees-refugees



Thursday, August 4, 2016

Resurfacing Borders: Videos and Readings_Cynthia

These links are not explicitly about the refugee and border issues in Europe, but they address how South Asian dance aesthetics might deal with issues of migration, displacement, and borders.

VIDEOS:
Pallabi Chakravorty, "Asunder," on Partition: https://www.youtube.com/watch?v=LH4_JSIzWAs (start around 30 min and watch until the end)

Raka Maitra, "From Another Land," about Bengali migrant laborers in Singapore: http://www.chowk.sg/from-another-land (3 min excerpt)

READING:
This is a conference paper I gave last year at the the WDA-AP conference in Singapore, entitled "Homeland as Beloved: Translating Viraha for (Post)colonial Contexts." If you like, you can just read the portion on "Asunder."
https://drive.google.com/file/d/0B7gHlaj9pphSY1FhaFF6TloxX28/view?usp=sharing

IMAGE:
And as a bonus, here is the "Refugee" tarot card from the Asian American Literature Review's new project, "Asian American Tarot: A Mental Health Project." If you like it, consider donating so the project can get off the ground: https://www.kickstarter.com/projects/1750978990/asian-american-tarot-a-mental-health-project.  (The rewards include artwork and poetry by As Am artistic luminaries!)


Wednesday, August 3, 2016

Resurfacing Borders_Preliminary round_ babli

Hey all, here is a link- about Munich- what happened there recently- and the complexity of it...

on my mind;

https://hummusforthought.com/2016/07/24/munich-and-whiteness-by-alex-shams/



Videos:
A video addition here- its not related to the article-
the second video is without the visuals from the first- but translates the lyrics from video 1 into English:

video 1:

https://vimeo.com/136506510

video 2 - translation:
https://www.youtube.com/watch?v=dfaqRTF-uzU

Tuesday, June 7, 2016

blood run (Charlotte)

Here's video of my piece!  

It's not great video (it's not very well-edited, is blown out in many places, chops off my head, and the videographer is upstage of me instead of in the audience for about a third of the work), but it should at least give you an idea.  You can scrub through or selectively watch the first seven minutes or so, which is an installation section that opens the show.  Same thing for the last chunk, from 35:30 to the end, which shows an ending ritual of burning paper that takes place outside.

https://drive.google.com/open?id=0B7gHlaj9pphSVmNnblpob24yVUE

I'll try to come up with more thoughtful feedback questions later, but I'm interested primarily in things that can be addressed before my performance next week: things I can do to improve it performatively, transitions, whether you find any parts confusing or powerful, opinions about how to involve audience seamlessly.  I'm also open to larger queries or ideas for the future, but would prefer it if you would frame those suggestions as being "for later."

Sunday, May 8, 2016

Reimagining Citizenship: Round 4 (by Shyamala)

-->
Find or create a poetic, academic text or news article that refers to your area of interest in Reimagining Citizenship.  If you don’t have one you can do a freewrite instead.

Pick out 5 to 10 compelling words or phrases.
Create movements for those words or phrases and thread them together in a repeating sequence (you may need to create transitions that are outside the text).

Think of what the major metaphor or idea of the text is.  For example, in the song “10 little Indians” I would say the main idea/metaphor is about  disappearance or genocide. 

Use that metaphor to influence how you might create variations on the movement phrase as it repeats (like disappearing parts of it until they are all gone).  Also incorporate some (ideally not all) of the text through audio, visual means, or other means with the metaphor still in mind.  The text should not necessarily match up with the movement (for example in “Indians” I could visually represent the text on a chalk board or white board and mark out or erase parts of it as I dance, Or I could sing the song once while repeating the dance 3 times with variations).

Or just share whatever it is you are currently working on!!

DUE DATE: JUNE 6th, 2016

Sunday, April 17, 2016

Reimagining Citizenship: Indians

Thanks to Ulka for helping me film and giving some outside eye help too!

password:  citizenship




1.  How do you read this study in relation to the idea of citizenship in terms of movement, costume, surroundings etc., and do any of these aspects stand out to you more than others? 

2.  How do you read my positionality in particular?

3.  Are there any ways you can imagine that I might deepen the piece in relation to ideas of citizenship?

4.  Are there any ways you could imagine the study expanding artistically?

5.  Are there any ways you can imagine making the piece relate more to hapa/mixed identity which was initially going to be my inroad to Re-imagining Citizenship.   

Tuesday, April 12, 2016

Reimagining Citizenship: BN feet with Moten's Gift II




PW: Moten's Gift

1) Are there any movement concepts you find interesting in relationship with Moten's words?

2) Are there any movement concepts you find uninteresting in relationship with Moten's words?

3) Anything you find problematic?

4) I presented a version of this at ARC Pasadena a few weeks ago. I received some great feedback via text from friend and dance scholar Naomi Bragin, particularly relating to time in the second section. Can you think of concrete choreographic tasks that might work towards accomplishing what she is suggesting?

"This idea of death only holds true if as Fred Moten says you focus on the burial ground of the subject which is the world but what about speculative politics which is the seeing of other worlds which I would describe as parallel universes not distinct from what is now

It makes me think of the way you play with time in your work, how you might twist that to challenge a perception of time within a linear frame, in order to speculate on what's to be seen

Also I was thinking it might b meaningful for u to explore the cadences or resonances of what you do with blackness, something along the lines of what SG said about the pop lock and drop it :)"


Note: Pop lock and drop it translated into - when I go from aramandi to muramandi fast! 




Wednesday, April 6, 2016

Reimagining Citizenship: Pingpu Declaration

I'm in the final homestretch before "blood run" premieres, and would love your feedback on my delivery/interpretation of the Pingpu Declaration.  As context, this occurs about halfway through the performance part of my work (it starts with an installation).  I've finished doing the ethnographic movement phrase, which ends with me physically wigging out to a soundscape of various insults aimed towards both indigenous and Han people.  Afterwards I wash my hands and face with beet juice, and pour it on my feet, so I'm sopping with "blood."  Then I go into the audience and ask someone to write, with a Chinese calligraphy brush, "colonizer" on my chest and "cooked savage" on my back.  This speech, which takes place downstage center in the puddle of blood, is the next thing that follows.

Here are two options for my delivery of the speech.  The password for both is "plains".
Pingpu Declaration_fragmented from Cynthia Ling Lee on Vimeo.
Pingpu Declaration_full from Cynthia Ling Lee on Vimeo.

In the first, I try to actually translate the words in Mandarin, with the intention of speaking only in the empty spaces between my dad's words, so that the translation is partial and fragmented.  In the second, I imagine myself as an indigenous person at the Legislative Assembly delivering the speech, and say the speech in full.  This section is followed by my folding up the paper, putting it on the bloody ground, covering it with sand and rice, and burning incense that I stick in the rice (a Han ritual).

FEEDBACK QUESTIONS -
Which version do you prefer, intellectually and emotionally?  Why?  Any other comments?  (My quandary is that the first version is truer to my position, but often it seems to result in me looking confused, rather than being powerful, and I'm worried about too much of the text getting lost for non-Mandarin speakers (probably all of my audience).  I also wonder whether the fact that I'm clearly labeled "colonizer" is enough to counter or complicate my performative positionality as an indigenous person during the speech.)

Sunday, March 6, 2016

Reimagining Citizenship: Cynthia Assignment 3

Children and Citizenship

I've been thinking about how children are inculcated from a young age to other, marginalize, and treat other human beings as "less than."  This idea was partially sparked by a study by Lalenja Harrington, an extraordinary artist and a grad student in my Feminist and Queer Performance-Making class.  Her study worked with children's playground clapping songs: at first it created a sense of delight and intimate familiarity and then revealed, chillingly, the deep anti-black racism embedded in the song.  I've also thought of the RSS rewriting textbooks to reflect pro-Hitler ideologies of racial purity, and anti-aboriginal legends taught in Taiwanese public schools.  On the flip side, of course, there are traditional folktales of resistance and cultural retention, such as the Brer Rabbit stories.  I've been thinking about the power of myth to de-historicize dominant power structures by making those power structures seem "timeless" and "natural," and the various ways in which we can subversively reframe these hegemonic scripts.

ASSIGNMENT:
Find a children's story, song, textbook, or other material connected to your particular Reimagining Citizenship topic: this material may either espouse a dominant ideology or embody resistance.  Do some dramaturgical research to understand some of different interpretations, as well as historical and cultural context, surrounding this story/song/text/etc., if possible.

Create a study inspired by this children's "text" that cuts across the grain of the story by retelling it from a viewpoint other than the one it is written from.  Your study may be in any medium and should incorporate an object that you feel is emotionally/poetically related to your Reimagining Citizenship topic (for instance, Pacific seawater for blood run), but is not directly drawn from the children's text/material.

Feel free to take any element of this assignment that is useful to you.  You are welcome to modify, cut, throw out, or translate in whatever way you need.

POST YOUR RESPONSE BY APRIL 11th, 2016