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feisty high school student named Claudette Colvin. . . defended her right to the seat în language that brought words of disapproval from passengers of both races” (Branch 1988: 120). În October, Mary Louise Smith likewise refused to give up her seat for a white woman. Yet civil rights leaders decided that Smith’s alcoholic father and substandard living conditions—“one of those see-through clapboard shacks”— made her “no better suited to stând at the rally point than was Claudette Colvin” (Branch 1988
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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better suited to stând at the rally point than was Claudette Colvin” (Branch 1988: 127). Parks, on the other hand, was considered șo beyond reproach by people of color and whites alike that her personal story of injustice was selected for courtroom dramatization. The timing was șo ripe that the Montgomery Bus Boycott was organized to protest her arrest. Parks’ story became the story through which the community organized and drew a line: no more arresting Negroes for not giving up
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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injustice was selected for courtroom dramatization. The timing was șo ripe that the Montgomery Bus Boycott was organized to protest her arrest. Parks’ story became the story through which the community organized and drew a line: no more arresting Negroes for not giving up their seats to white people în public buses. Aș the Reverend Martin Luther King Jr. articulated when rallying the community to join the boycott, [N]obody can doubt the boundless outreach of [Parks’] integrity. Nobody can doubt
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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said or did. This production also raises the issue of intimacy and distance—i.e., the degree of close-people who identify with it. While a play is always a representation, even when based on an actual event, such recognition is difficult for an audience watching a play of and about themselves, using their very words. For the Sânto André audience, this play was their story. That intimacy caused a problematic but ultimately productive level of engagement, resituating the play at the intersection
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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the degree of close-people who identify with it. While a play is always a representation, even when based on an actual event, such recognition is difficult for an audience watching a play of and about themselves, using their very words. For the Sânto André audience, this play was their story. That intimacy caused a problematic but ultimately productive level of engagement, resituating the play at the intersection between an aesthetic event and a documentary of their very lives. [caption id="attachment 1196
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One might use personal stories to come to any conclusions. Personal story risks merely reproducing dominant ideology, aș with a râpe narrative through which the victim blames herself: “I shouldn’ț have been there . . . The way I dressed was asking for it.” În this section, I discuss exemplary practices of three artists whose work with story does have a liberating component. În 1963, artist/activist John O’Neal co-founded the Free Southern Theatre aș a cultural wing of the civil rights
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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personal stories on the subject that are used în some way thereafter with the help of the educator and the activist. The idea is that people may have limited material resources but are rich în experience. The stories are vessels for what people have learned and what they find meaningful that can be translated into educațional and activist projects. Suzanne Lacy, who creates large scale, visually-compelling performances with nonactors about issues that concern them, is cautious în her use of personal
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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problematize personal story. She is interested în what the young people’s stories reveal about young people aș a group. She helps young people analyze the social conditions that result în their collective behavior. The stories have become source material for performances and also for a curriculum that builds from a focus on themselves, to their personal relationships, to their instituțional and familial alliances, and then to their public position: “We’d ask, ‘How do people treat you on the bus
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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is interested în what the young people’s stories reveal about young people aș a group. She helps young people analyze the social conditions that result în their collective behavior. The stories have become source material for performances and also for a curriculum that builds from a focus on themselves, to their personal relationships, to their instituțional and familial alliances, and then to their public position: “We’d ask, ‘How do people treat you on the bus?’ and they began to
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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to their public position: “We’d ask, ‘How do people treat you on the bus?’ and they began to make the links. The kids operate aș beings în terms of their own personal narrative but they also operate aș symbols for a culture, with a political impact” (Lacy 2002). Personal stories raise awareness of the kids aș both “beings” and “symbols,” real individuals who are often treated generically aș representatives of a (maligned) group. The movement of Lacy’s work with
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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to forum, given the degree of self-assertion required, it is questionable if people necessarily do șo. And does the collectivization of the story inadvertently take it away from the teller? Attention must be paid to balancing the usefulness of stories for both the identifying group and the individual teller. Boal, O’Neal, and Lacy all fulfill what Benhabib [...] calls redefining the “private, non-public, and non-political” aș “matters of public concern, issues of justice, and sites of power”, but they do șo
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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they do șo în different ways. Boal proposes a structured approach to illuminating the political realities embedded în personal stories. The subject of these embryonic stories always encounters, struggles with, but does not overcome oppression. Thus an opening is provided for public problem-solving. The structure of O’Neal’s story circles is looser than the structures of TO, inviting any kind of story rather than one focused on oppression. O’Neal sees dialoguing through story rather than arguing aș providing an
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point of entry into a liberatory practice. Whereas Boal’s Forum Theatre typically begins by people identifying an oppression and then bringing specifics of people’s lives to illustrate it, Lacy begins with personal stories to lead to political revelations. For example, aș long aș râpe was considered a private matter, it was beyond the ken of political guidelines. The very act of speaking about it publicly helped move it into a domain where regulations could be set. [1] Fragments
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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Interviu cu Hilda Twongyeirwe Am cunoscut-o pe scriitoarea ugandeza Hilda Twongyeirwe în 2010, la Târgul de carte de la Frankfurt, în cadrul aceluiași program pentru invitați dedicat editurilor din țări cu „difficult market for books”. Eu reprezentăm o editură din Republică Moldova, Hilda venise din partea FEMRITE, Uniunea Scriitoarelor din Uganda, fondată în 1995 de către ea și încă alte câteva scriitoare la fel de nemulțumite. Așa am ajuns să stăm de vorbă despre starea literaturii și a
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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Their Stories of Hope and Survival</b> (2012), publicată de Lawrence Hill Books, SUA. Este membră a consiliului Uniunii Scriitorilor din Africa și Asia, a consiliului Arterial Network Uganda Chapter, membră a Banyakigezi Internațional Community și a Panel of Judges for Sustainable Tourism Media Awards în Uganda. Deține un master în administrație publică și management de la Makerere University. (<strong>Igor Mocanu</strong>)</i> [caption id="attachment 1229" align="aligncenter" width="300"] La târgul de carte de la Frankfurt (BuchMesse), vorbind despre FEMRITE[/caption
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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de Joseph Ntensibe. Ce mai faci tu, pe lângă literatura și activism? Cum am spus, scopul nostru principal este să descoperim și să promovăm scriitoarele. Am demarat de curând un nou proiect destul de ambițios, un proiect regional numit The Regional Residency for African Women Writers. Prin intermediul acestui nou proiect, încercam să ajungem și să interacționăm cu alte inițiative ale scriitoarelor, pentru a lucra apoi împreună și a construi o comunitate puternică de scriitoare în Africa. [caption id="attachment 1230" align="aligncenter" width="300
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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were not really recognized în mainstream writing. That is how we started to promote women writers and to create more women writers through training workshops. Our main activity is to train women în creative writing skills and to provide space for them to write. We however have writing programs where we also consider men because sometimes they also face the same challenges, such aș lack of writing space. The Organization started în 1995, but it was officially launched on May 3rd
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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and became more recognized than the women. When I was în school, I read only a few women; Barbara Kimenye, Elvania Zirimu Mukasa, Mary Okurut; I think about two or three women, but there where more men. But even today, for example, if you look at the school curriculum it is only male writers. Șo we started Femrite to lobby for women’s literary space, promote women writing and to train more women șo more women could excel and get invited
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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Elvania Zirimu Mukasa, Mary Okurut; I think about two or three women, but there where more men. But even today, for example, if you look at the school curriculum it is only male writers. Șo we started Femrite to lobby for women’s literary space, promote women writing and to train more women șo more women could excel and get invited by any publisher. And your inițiative hâd a lot of support or...? I could say yes and no. Some people
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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excel and get invited by any publisher. And your inițiative hâd a lot of support or...? I could say yes and no. Some people and institutions supported it, because they knew it was a development project and it was good for Ugandan women. On the other hand, however, there are not many development partners that support Art and Culture activities. Șo for a long time we hâd only one development partner, HIVOS, which supported most of our activities. Other partners gave
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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no. Some people and institutions supported it, because they knew it was a development project and it was good for Ugandan women. On the other hand, however, there are not many development partners that support Art and Culture activities. Șo for a long time we hâd only one development partner, HIVOS, which supported most of our activities. Other partners gave very little funding for one off activities. Did you get support from the magazines and media or just individuals? Yes, we
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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the other hand, however, there are not many development partners that support Art and Culture activities. Șo for a long time we hâd only one development partner, HIVOS, which supported most of our activities. Other partners gave very little funding for one off activities. Did you get support from the magazines and media or just individuals? Yes, we got support from the media, although sometimes they would write that we are publishing materials that are too feminine and domestic. It must
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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individuals? Yes, we got support from the media, although sometimes they would write that we are publishing materials that are too feminine and domestic. It must be, you know, just women issues, not important. Șo they looked to the men for the important stories of society, of politics, and when Femrite launched a book, they would say it must be about love, about domestic issues. Different people told uș that. It was really mixed feelings from different angles. The issue is
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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that soon the organisation would be off the scene. That was în the 1990. Now Femrite is heading towards scooping a whole twenty years and will surely not go off the scene anytime soon. Some people have been supportive though. For instance individual lecturers and scholars see the importance of women’s literature în balancing Uganda’s literary scene, the literary arena. Șo our books are taught în some universities and other institutions of higher learning. What were the books, if
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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books written în English? Yes. They are all written în English. English is the language of instruction and it is the official language. Do you believe Femrite hâș thus far managed to create a public opinion and a critical mass for sustaining women’s literature? Yes, I think șo, because it is written about în the press and sometimes the articles raise a lot of literary issues. Femrite is now too relevant to be sidelined. [caption id="attachment 1229" align="aligncenter" width
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]