Hancock Symposium 2014 


Lippert, Leopold. “‘Life in the Memory of One Who No Longer Lives’: The Laramie Project and the Politics of Performance.” ANQ 23, no. 2 (Spring 2010): 86.
This essay examines the politics of The Laramie Project, focusing on its engagement with the politics of futurity, and, as a consequence, with its stance towards homosexuality, homophobia, and the cultural narrative of queer social negativity. How, in fact, does the piece renegotiate American community? And in what ways can a play that deals with both the brutal murder of a gay man and the homophobic sentiment of a Wyoming small-town community re-imagine the cultural representation of lesbian and gay identities and communities in the United States? It is the play’s self-referential emphasis on performance that makes possible such an endeavor. Performance, and its temporal indeterminacy, its rootedness in a perpetual present, is crucial to both structure and content of The Laramie Project. Through thepolitics of performance, then, homophobia and queer social negativity are renegotiated both on a formal and thematic level, and the futurist script of American community is invested with more tolerant and more inclusive social meaning. (Abstract from: Lippert, Leopold. "“Life In The Memory Of One Who No Longer Lives”: The Laramie Project And The Politics Of Performance." Anq 23.2 (2010): 86. Publisher Provided Full Text Searching File. Web. 16 July 2014.)
Müller, Tanja R. “‘The Ethiopian Famine’ Revisited: Band Aid and the Antipolitics of Celebrity Humanitarian Action.” Disasters 37, no. 1 (January 2013): 61 .
In many ways the Ethiopian famine of 1983-85 has served as a watershed with respect to humanitarian action. One of its lasting legacies has been the emergence of Band Aid and the subsequent increase in celebrity humanitarianism. A revisiting of the events of 1983-85 occurred in 2010 during a dispute in which it was alleged that a portion of the donations of Band Aid were spent on arms purchases. This paper takes this controversy as its starting point. It goes on to use the theoretical reflections of Giorgio Agamben to consider the dynamics that unfolded during the Ethiopian famine of 1983-85 and to analyse the underlying conceptualisation behind the emergence of Band Aid-type celebrity humanitarianism. The paper concludes with some wider thoughts on how the in essence antipolitical agenda of celebrity humanitarian action is transported into the everyday understanding of 'African disaster', resulting ultimately in the perpetuation of hegemonic control by the global North. (Abstract from: Müller, Tanja R. "'The Ethiopian Famine' Revisited: Band Aid And The Antipolitics Of Celebrity Humanitarian Action." Disasters 37.1 (2013): 61. Publisher Provided Full Text Searching File. Web. 22 July 2014.)
Mulvey, Anne, and Charlotte Mandell. “Using the Arts to Challenge Hate, Create Community: Laramie Lives in Lowell.” Journal of Gay & Lesbian Psychotherapy 11, no. 3/4 (July 2007): 121.
This paper describes a production of Moises Kaufman's The Laramie Project staged at a northeast public urban university and a related educational campaign. Project goals were to discourage homophobia, encourage dialogue, and increase visibility and acceptance of gay, lesbian, bisexual, and transgendered students. The project was produced by a coalition including student groups, academic departments, and administrative units. A variety of indices show the play was immediately successful for the audience and community and had a deeper impact on cast members and planners. Collaborative relationships spanning interpersonal, cultural, and political boundaries and the use of the arts for social change were key factors in the program's success. (Abstract from: Mulvey, Anne, and Charlotte Mandell. "Using The Arts To Challenge Hate, Create Community: Laramie Lives In Lowell." Journal Of Gay & Lesbian Psychotherapy 11.3/4 (2007): 121-141.Academic Search Complete. Web. 22 July 2014.)
Potash, Jordan. “Art Therapists as Intermediaries for Social Change.” Journal of Art for Life 2, no. 1 (Spring 2011): 48.
Although many art therapists are proponents of social justice and advocate for their underserved clients, they may not think of art therapy as a change agent for communities or societal ills such as discrimination and inequality. In this paper a proposal to infuse art therapy with the political philosophies and practices of nonviolent resistance may bring to light how art therapists can be a tool for advancing both individual and community change. Social change begins with generating empathy for others. Reaching out to the community through facilitating art exhibits may be one way to heighten empathy for client-artists. Guided relational viewing is proposed as a theoretical principle to motivate art therapists to move from being a proponent of social justice to becoming an agent of social transformation. (Abstract from: Copyright 2011 by Florida State University Potash, J. (2011). Art therapist as intermediaries for social change Journal of Art for Life,2(1), 48-58.)
Rasmussen, Mikkel Bolt. “Art, Revolution and Communisation.” Third Text 26, no. 2 (March 2012): 229.
This article argues that modern art has always had a complex relationship to the idea of revolution, at the same time embodying and articulating a critique of modern capitalist society as well as consolidating the same society. From Romanticism onwards art has sought to transgress the discursive and institutional limits of the art institution and to transcend the separation of art and everyday life. Today much of what goes by the name of contemporary art is rarely able to continue this destructive project. A notable exception is the milieu that has published Tiqqun and L'Insurrection qui vient (The Coming Insurrection), combining elements from the revolutionary tradition as well as avant-garde art working towards a communisation of everyday life under conditions of spectacle. This article argues that modern art has always had a complex relationship to the idea of revolution, at the same time embodying and articulating a critique of modern capitalist society as well as consolidating the same society. From Romanticism onwards art has sought to transgress the discursive and institutional limits of the art institution and to transcend the separation of art and everyday life. Today much of what goes by the name of contemporary art is rarely able to continue this destructive project. A notable exception is the milieu that has published Tiqqun and L'Insurrection qui vient (The Coming Insurrection), combining elements from the revolutionary tradition as well as avant-garde art working towards a communisation of everyday life under conditions of spectacle. (Abstract from: Rasmussen, Mikkel Bolt. "Art, Revolution And Communisation." Third Text 26.2 (2012): 229. Publisher Provided Full Text Searching File. Web. 16 July 2014.)
Repo, Jemima, and Riina Yrjölä. “The Gender Politics of Celebrity Humanitarianism in Africa.” International Feminist Journal of Politics 13, no. 1 (March 2011): 44.
This article examines Anglo-American news media through a discourse-theoretical framework to study first, how celebrities are constituted as gendered humanitarian subjects acting on behalf of African problems, and second, how the concept of 'Africa' is produced, not only as a place, but also as a purpose in the world system. The debate surrounding celebrities is at an impasse, where they are seen as either instrumental or detrimental to African development. To break this standoff, we begin by placing celebrities in their neo-colonial context. We argue that the legitimacy of Bono, Bob Geldof and Angelina Jolie as humanitarian actors is underpinned by particular reproductions of race, class and gender. They are positioned in a heteronormative world political framework in which celebrities recreate Africa and its proper place in the neoliberal international system through a performative perpetuation of historically embedded subjectivities. The analysis then turns to Madonna's Malawian adoption in 2006 as a case that does not entirely 'fit' and probes its subversive capacity. The article argues that the adoption controversy made visible the privileged, neo-colonial position from which celebrities, and western humanitarianism broadly speaking, happens, and gives rise to further questions pertaining to Africa's childlike position in the western imaginary. (Abstract from: REPO, JEMIMA, and RIINA YRJÖLÄ. "The Gender Politics Of Celebrity Humanitarianism In Africa." International Feminist Journal Of Politics 13.1 (2011): 44. Publisher Provided Full Text Searching File. Web. 16 July 2014.)
Yrjölä, Riina. “From Street into the World: Towards a Politicised Reading of Celebrity Humanitarianism.” British Journal of Politics & International Relations 14, no. 3 (August 2012): 357.
Since John Street’s article on celebrity politics in 2004, the integral role of celebrities in contemporary humanitarian politics has been increasingly acknowledged in the study of international relations. However, as argued in this article, this research has been limited to analysing appearances rather than examining the aesthetics of celebrity representations and their ‘thought worlds’ that contribute also to the structures, relations and processes of world politics. This article addresses this dearth of critical attention and proposes an approach to engage with celebrity humanitarian imaginaries politically by turning to critical humanitarianism and cultural and post-colonial studies. It concludes that by failing to acknowledge the historicity, conditions and effects of celebrity humanitarian intelligibilities and imaginaries in a globalised world, research in this area is in danger of missing the very location of politics. What is called for is future research that broadens the understanding of this activity in world politics without closing the question of the political. (Abstract from: Yrjölä, Riina. "From Street Into The World: Towards A Politicised Reading Of Celebrity Humanitarianism." British Journal Of Politics & International Relations 14.3 (2012): 357. Publisher Provided Full Text Searching File. Web. 16 July 2014.)
Belk, Russell. “Examining Markets, Marketing, Consumers, and Society through Documentary Films.” Journal of Macromarketing 31, no. 4 (December 2011): 403.
Documentary film is over 100 years old and includes subgenres such as ethnography, historical film, docu-drama, propaganda, and advocacy videos. With numerous film archives, film festivals, special DVD issues of journals, inexpensive video recording and editing equipment, Internet distribution, and the phenomenal growth of archival Internet sites such as YouTube and Vimeo, there are now hundreds of millions of documentary films and videos available to the interested researcher. The author argues that the macromarketing field has greatly underutilized this vast resource and suggests examples of sources and uses for such material. The author also suggests some aids for acquiring critical visual literacy skills to inform such analyses. Just as we rely on our libraries and online access for books and print journals, we can readily do the same with documentary films. Such analytical projects can be presented as either video documentaries themselves, as text-based articles and books, or as multimedia combinations. Film, video, Internet, and television images arguably do more to influence public perceptions of marketing, consumption, and life than any other medium. There is thus a great opportunity to understand society through this window on the world. (Abstract from : Belk, Russell. "Examining Markets, Marketing, Consumers, And Society Through Documentary Films." Journal Of Macromarketing 31.4 (2011): 403. Publisher Provided Full Text Searching File. Web. 16 July 2014.)
Donaldson, Rachel C. “Broadcasting Diversity: Alan Lomax and Multiculturalism.” Journal of Popular Culture 46, no. 1 (February 2013): 59.
The article presents an in-depth overview of the work of the U.S. folklorist and ethnomusicologist Alan Lomax in fostering multiculturalism and cultural pluralism through music appreciation during the mid-20th century. Focus is given to the vision and accomplishments of Lomax in the broadcasting of the CBS radio program "Folk Music of America," which exhibited folk music of several ethnic communities and highlighted their cultural contributions to American society and identity. The author concludes that Lomax's work during the 1930s and 1940s established the foundation for the larger multicultural agenda of the 1970s. (Abstract from Wiley Cox: DONALDSON, R. C. (2013). Broadcasting Diversity: Alan Lomax and Multiculturalism. Journal Of Popular Culture, 46(1), 59-78. doi:10.1111/jpcu.12016 )
Gartner, Scott S. “On Behalf of a Grateful Nation: Conventionalized Images of Loss and Individual Opinion Change in War.” International Studies Quarterly 55, no. 2 (June 2011): 545 .
Conventionalized images of wartime loss picture scripted, ceremonial events, such as flag-draped coffins off-loaded from planes or soldiers handing a triangular folded flag to grieving relatives saying, 'on behalf of a grateful nation.' In comparison, unconventionalized war photographs, such as battlefield pictures, present more chaotic, less standardized images. I develop a theory of wartime media that examines how qualities of both the signal (whether photographs deal with military loss or militarism, and whether images employ conventionalized or unconventionalized imagery) and the receiver (the partisanship of the individual) influence individual opinion. I anticipate that viewing conventionalized images of loss will affect the likelihood that individuals shift from supporting to opposing a conflict and that partisanship can mitigate this effect. Results from analyses of seven experimental studies with 1,769 subjects and varied research designs strongly support the theory, finding that qualities of the signal and individual (and their interaction) influence the likelihood of wartime opinion change. These findings help to explain previous weak results linking wartime photography and public opinion, improve our understanding of wartime public opinion dynamics, and speak directly to current policy debates. (Abstract from: Gartner, Scott S. "On Behalf Of A Grateful Nation: Conventionalized Images Of Loss And Individual Opinion Change In War." International Studies Quarterly 55.2 (2011): 545-561. Academic Search Complete. Web. 22 July 2014.)
Gold, John R., and George Revill. “Gathering the Voices of the People? Cecil Sharp, Cultural Hybridity, and the Folk Music of Appalachia.” GeoJournal 65, no. 1/2 (February 2006): 55.
This paper examines the four trips that the English folk music collector Cecil Sharp made to Appalachia (1916-1918) as a case-study through which to explore the relationships between nationhood and place identity. The first parts consider background on the theoretical underpinnings of folk music collection and about Sharp's earlier work. We then investigate how Sharp and his companion Maud Karpeles initially came to collect what they felt were English folk songs, but gradually had to come to terms with Appalachia's culturally heterogeneous folk traditions. This final part draws parallels with Béla Bartók's approach to the Hungarian Gypsy tradition. (Abstract from: Gold, John R., and George Revill. "Gathering The Voices Of The People? Cecil Sharp, Cultural Hybridity, And The Folk Music Of Appalachia." Geojournal 65.1/2 (2006): 55-66. Environment Complete. Web. 22 July 2014. )
Karnik, Niranjan S. “Rwanda & the Media: Imagery, War & Refuge.” Review of African Political Economy 25, no. 78 (December 1998): 611.
Examines `The New York Times' photojournalistic coverage of Rwanda from 1989 through the events of 1994. Images of slaughter and death in Rwanda; Images of tribal war which appears in the periodical beginning April 7, 1994; Importance of the agency in evaluating imagery from Rwanda. (Abstract from article in JSTOR Rwanda & the Media: Imagery, War & Refuge Niranjan S. Karnik Review of African Political Economy
Vol. 25, No. 78, Whose News? Control of the Media in Africa (Dec., 1998), pp. 611-623
Published by: Taylor & Francis, Ltd.)
Full Text Freely Available Here
Kennedy, Liam. “Seeing and Believing: On Photography and the War on Terror.” Public Culture 24, no. 2 (Spring 2012): 261.
The essay discusses the relationship between mass media, particularly photojournalism about the War on Terror, and the U.S. public. The author comments on the visual culture of perpetual warfare and the ability of the public to interpret images according to their ideological beliefs. Other topics explored include the nature of iconic images, officially produced imagery, and depictions of collateral damage during war. (Abstract from: Gold, John R., and George Revill. "Gathering The Voices Of The People? Cecil Sharp, Cultural Hybridity, And The Folk Music Of Appalachia." Geojournal(Abstract from: Kennedy, Liam. "Seeing And Believing: On Photography And The War On Terror." Public Culture 24.2 (2012): 261-281. Academic Search Complete. Web. 22 July 2014.) 65.1/2 (2006): 55-66. Environment Complete. Web. 22 July 2014. )
Kitts, Thomas M. “Documenting, Creating, and Interpreting Moments of Definition: Monterey Pop, Woodstock, and Gimme Shelter.” Journal of Popular Culture 42, no. 4 (August 2009): 715 .
The article analyzes the films "Monterey Pop," directed by D.A. Pennebaker, "Woodstock," directed by Michael Wadleigh, and "Gimme Shelter," which was directed by Albert and David Maysles and Charlotte Zerwin. The three films offer a history of the rise and decline of the 1960s spirit of counterculture and illustrate how myths in the postmodern age are created, spread, dissolved, and then continued. Pennebaker's use of only seven cameras in comparison to the commercialism of the Woodstock film and to the lack of security and adequate preparation time for the "Gimme Shelter" film are discussed. (Abstract from: KITTS, THOMAS M. "Documenting, Creating, And Interpreting Moments Of Definition: Monterey Pop, Woodstock, And Gimme Shelter." Journal Of Popular Culture 42.4 (2009): 715-732. Academic Search Complete. Web. 22 July 2014.)
Mitchell, Gillian A. M. “Visions of Diversity: Cultural Pluralism and the Nation in the Folk Music Revival Movement of the United States and Canada, 1958-65.” Journal of American Studies 40, no. 3 (December 2006): 593.
The article discusses the concept of cultural pluralism in the North America folk music revival in 1958-65. This offers an introduction to the historical development of cultural and musical pluralism up to 1965. The music diversity welcomes amateurs and famous professionals, and promotes the diverse character of the famous revivals. The folk revival in America and Canada has promoted a vast patch-work of multi-ethnic, pan-regional societies and cultures of North America. (Abstract from: Mitchell, Gillian A. M. "Visions Of Diversity: Cultural Pluralism And The Nation In The Folk Music Revival Movement Of The United States And Canada, 1958-65." Journal Of American Studies 40.3 (2006): 593-614. Academic Search Complete. Web. 22 July 2014.)
Möller, Frank. “Rwanda Revisualized: Genocide, Photography, and the Era of the Witness.” Alternatives: Global, Local, Political 35, no. 2 (April 2010): 113.
Engaging with the literature on visual representations of human suffering, being a witness, and trauma, this article discusses visual representations of the 1994 genocide in Rwanda, and especially the art photography of Alfredo Jaar, Robert Lyons, and Jonathan Torgovnik of the aftermath of the genocide. It explores the conditions in which photography can succeed in disrupting stereotypical political interpretations of the killings. Art photography, it is argued, may help transform the viewers from being consuming spectators into being participant witnesses who self-critically reflect upon their own subject positions in relation to the conditions depicted in the image. By discussing photography of the aftermath of the genocide, the article acknowledges the unrepresentability of genocide; by focusing on visual representations, it reflects the extent to which political space is nowadays constituted by means of images; by concentrating on Rwanda, it contributes to the necessary process of examination and self-examination in connection with the killings. (Abstract from: Möller, Frank. "Rwanda Revisualized: Genocide, Photography, And The Era Of The Witness." Alternatives: Global, Local, Political 35.2 (2010): 113-136. Academic Search Complete. Web. 22 July 2014.)
Heuston, Laurie. Moira Smiley and Voco at the Unitarian Fellowship. Mail Tribune (Medford, OR), February 6, 2013 . (Heuston, Laurie. "Moira Smiley and Voco at the Unitarian Fellowship." Mail Tribune (Medford, OR) 06 Feb. 2013: Newspaper Source. Web. 22 July 2014.)
http://search.ebscohost.com/login.aspx?direct=true&db=nfh&AN=2W61535934878&site=ehost-live.

Kane Young. “Singing Highly Recommended as Winter Sport.” Mercury, The (Hobart), June 30, 2011, 7–7.
If singing is a sport, then world-renowned vocal coach, composer and performer Moira Smiley is taking it one game at a time, firing on all cylinders and set to give 110 per cent when she makes her Australian debut in Hobart's Festival of Voices next week. (Abstract from: KANE, YOUNG. "Singing Highly Recommended As Winter Sport." Mercury, The (Hobart) (2011): 7. Newspaper Source. Web. 23 July 2014.)
Banksy. 2007. Wall and Piece, pbk. London: Random House. The artwork of Britain’s famous street artist is displayed in this book.

Bell, Dale W, ed. 1999. Woodstock: An Inside Look at the Movie that Shook Up the World and Defined a Generation (London: Moving Mantra). Electronic publication. The book by the producer of the famous 1970 movie of the same title.

Augusto Boal. Theatre of the Oppressed. Theatre Communications Group, 1993 (see pages 36-47 & 117-155).

Cheshire, Ellen. 2000. “Leni Riefenstahl: Documentary Film-maker or Propagandist?” Kamera.co.uk Film Salon (http://www.kamera.co.uk/features/leniriefenstahl.html.) A movie review of the documentary which focuses on the ultimate question: objective documentary or subjective propaganda?

“The Concert for Bangladesh Revisited with George Harrison and Friends,” Apple Corps, 2005 (DVD). A two-DVD collection of the concert and the movie that resulted from the historical concert.

“The George Harrison Fund for UNICEF” website (which focuses on “The Concert for Bangladesh” of 1971; http://theconcertforbangladesh.com/). Focuses on the Concert for Bangladesh.

Kaufman, Moises. 2001. The Laramie Project (New York: Vintage). Play about the Matthew Shepard tragedy of 1998. See the HBO film, “The Laramie Project,” as well.

Riefenstahl, Leni. 1935. “Triumph of the Will” (“Triumph des WIllens”). Documentary of the 1934 Nazi Party Congress in Nuremberg, Germany.