Theatre, Dance & Performance Studies

Permanent URI for this communityhttp://hdl.handle.net/1903/2229

Effective July 1, 2010, the former departments of Dance and Theatre were combined to form the School of Theatre, Dance & Performance Studies.

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2013 - 20163

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Subject: search.filters.subject.Cultural anthropology

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    Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Montserrat, West Indies
    (2016) Spanos, Kathleen Aurelia; Frederik, Laurie; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    In this dissertation, I demonstrate how improvisations within the structures of performance during Montserrat’s annual festivals produce “rhythms of change” that contribute to the formation of cultural identities. Montserrat is a small island of 39.5 square miles in the Caribbean’s Leeward Islands, and a volcanic disaster in the 1990s led to the loss of villages, homes, and material possessions. The crisis resulted in mass displacement and emigration, and today’s remaining population of 5,000 is now in a stage of post-volcano redevelopment. The reliability of written archives for establishing cultural knowledge is tenuous, and the community is faced with re-energizing cherished cultural traditions. This ethnographic research traces my embodied search for Montserrat’s history through an archive that is itself intangible and performative. Festivals produce some of the island’s most visible and culturally political events, and music and dance performances prompt on- and off-stage discussions about the island’s multifaceted heritage. The festival cycle provides the structure for ongoing renegotiations of what it means to be “Montserratian.” I focus especially on the island’s often-discussed and debated “triangular” heritage of Irishness, Africanness, and Montserratianness as it is performed during the festivals. Through my meanderings along the winding hilly roads of Montserrat, I explored reconfigurations of cultural memory through the island’s masquerade dance tradition and other festival celebrations. In this work, I introduce a “Cast of Characters,” each of whose scholarly, artistic, and public service work on Montserrat contributes to the shape and transformation of the island’s post-volcano cultural identities today. This dissertation is about the kinesthetic transmission of shared (and sometimes unshared) cultural knowledge, the substance of which echoes in the rhythms of Montserrat’s music and dance practices today.
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    TODAY WE ARE ALL SCOTTISH: PERFORMANCES OF SELF, COMMUNITY, AND NATION AT HIGHLAND GAMES AND GATHERINGS
    (2014) Dawn, Karalee; Meer, Laurie A; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    In this dissertation, I analyze the complicated history and markers of cultural identity, as well as the sometimes-diverse performances of Scotland and Scottishness. I have documented that although Scottish symbols carry centuries of meaning, they have not endured without reinventions and struggle. Whether they are seen in Scotland or at Highland Games and Gatherings in the United States, and regardless of the traditions' "inventedness," "selectivity," or contested status, their interaction and dialogism work to represent the unique history and heritage of Scottish national cultural identity in local communities and in the overseas marketing campaigns for a growing and essential tourism industry. This dissertation examines the factors that draw together thousands of people who proudly proclaim (or seek) their Scottish heritage in a variety of performances, rituals and festivities. I examine how popular markers of Scottish heritage, such as bagpipe playing, kilt wearing, and clan affiliation transform when they change locations and cross borders. I ask if the "Wearing of the Tartan" changes meaning when it shifts locations, and I investigate how issues of shared heritage, genealogy, and membership are interpreted and enacted in a global Scottish community.
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    SPIRITUALIST RITUAL AND THE PERFORMANCE OF BELIEF: SPIRIT COMMUNICATION IN TWENTY-FIRST CENTURY AMERICA
    (2013) Thompson, Robert Charles; Frederik Meer, Laurie; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Spiritualism is an alternative religion focused on establishing contact between living participants and the spirits of the dead, dating to the mid nineteenth century. Drawing on eighteen months of ethnographic research at the Center for Spiritual Enlightenment in Falls Church, Virginia, I analyze the three primary rituals of Spiritualist practice--spirit messages, spirit healing, and unfoldment--and argue that performance is central to Spiritualists' ability to connect with the spirit world in a way that can be intersubjectively confirmed by more than one participant. Spirit messages are performed by mediums to a congregation or audience in order to prove to individual spectators that their deceased loved ones have continued to exist as disembodied spirits after their deaths. Spirit healing is performed by healers who channel the energy of the spirits into participants in order to improve the participant's mental, physical, and spiritual condition. And unfoldment is the process whereby Spiritualists study and practice to be able to make their own direct personal contact with the spirit world. Spiritualism purports to be a science, religion, and philosophy. I consider the intersection between criticism of empirical evidence and entertainment in order to establish how Spiritualists attract newcomers and the intersection between religious belief and ritual participation in order to establish why newcomers choose to become converts. I consider Spiritualism's early history in order to discover the nature of the delicate balance that criticism and belief have established in Spiritualist practice. And, in my analysis of contemporary Spiritualist ritual, I trace the path of the convert from a newcomer with a primarily critical attitude toward Spiritualism to a believer pursuing an increasingly direct connection with the spirit world. I conclude that the live, personal interaction of Spiritualist performance is central to Spiritualists' ability to negotiate a cooperative integration of scientific criticism and religious belief.