Elan Marchinko - Academia.edu (original) (raw)

Papers by Elan Marchinko

Contemporary Theatre Review, Jul 3, 2021

InTensions

This article engages performance art as a critical intersticiality in which to excavate those nec... more This article engages performance art as a critical intersticiality in which to excavate those necropolitical forces that mobilize human rights for (white) settlers across the same civic spaces in which racialized others are brutalized and die, in Canada, in 2016. Moving with several scholars of antiracism, dance studies and Indigenous theory, I self-reflexively analyze my piece “Un/bound,” that explores gendered racial violence against Indigenous women in Winnipeg, Manitoba. Contextualizing my performance within the larger installation Storying and Unsettling Ourselves,I discuss the powers of art to incite shifts in consciousness, where settlers, as artist-scholars, move from spaces of guilt into spaces of direct action in the struggle against colonial violence in Canada, and across the hemispheres.

Performing (in) Place: Moving on/with the Land, 2022

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des

Performing (in) Place: Moving on/with the Land, 2022

In July 2020, I relocated from the territory of the Lenape in New York City, New York, to the anc... more In July 2020, I relocated from the territory of the Lenape in New York City, New York, to the ancestral homelands of the Coast Salish Peoples and the Lummi Nation and Nooksack Tribe, otherwise known as Bellingham, Washington. As a settler Canadian and "dependent" on my partner's US work visa, I wrestle with my precarious yet privileged footing here in the southern part of Turtle Island. As well, friends and family often ask me how I am "settling in." I deploy this very question as a provocation to ask, As a white settler, what does it mean to both responsibly unsettle oneself and "settle in" to a new home on stolen land? At the same time, due to the complexities of moving across the country during COVID-19, I feel unmoored and disconnected from my immediate surroundings. I am the most grounded when I am dancing. Working through the metatarsals of my feet, those bones that absorb shock and engender soft landings, is both a metaphor and a methodology ...

Voice and Speech Review, 2020

This article highlights the experience of Indigenous performers in Canada; it makes recommendatio... more This article highlights the experience of Indigenous performers in Canada; it makes recommendations on how to better serve Indigenous actors-in-training, for appropriate and effective accent and language resource creation, and on how to improve the ways that professional Indigenous artists are supported in roles requiring Indigenous language and/or accents in theatre, television, and film. This project reviews the outcomes of four focus group discussions with Indigenous performers around the topic of accent and language training and its use in performance. Participants reported on their experience with accent and voice training in western and Indigenous performance training institutions, on their experience performing in traditional language and/or performing with an Indigenous accent of English, how they felt performance training can be decolonized, and on the accent/ language resources they felt were important to improve training opportunities for Indigenous artists.

Dancing the World Smaller, 2019

Mark Franko, Series Editor French Moves: The Cultural Politics of le hip hop Felicia McCarren Wat... more Mark Franko, Series Editor French Moves: The Cultural Politics of le hip hop Felicia McCarren Watching Weimar Dance Kate Elswit Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes Gabriele Brandstetter Dance as Text: Ideologies of the Baroque Body,...

Canadian Theatre Review, 2018

Winnipeg, Manitoba is located on the sacred territory of the Anishinaabeg, Cree, Oji-Cree, Dakota... more Winnipeg, Manitoba is located on the sacred territory of the Anishinaabeg, Cree, Oji-Cree, Dakota, Dene, and the Métis Nation. Like most Canadian cityscapes, though, these unceded lands are the grounds on which Jets hockey, the Canadian Museum for Human Rights (CMHR), and the Royal Winnipeg Ballet (RWB) take centre stage. Punctuating the city’s skyline from the historic downtown Forks site, the CMHR marks Winnipeg’s rising sense of self as a tolerant multicultural centre. However, as Indigenous-led choreographies of assembly continue to demonstrate, these sites of settler life are the same sites where Indigenous women and men are brutalized. In this essay, I specifically move with the February 2018 March for Tina Fontaine and the annual Drag the Red initiative as my objects of analysis. Looking closely at gendered racial violence, performativity, and necropolitics, I discuss how these public assemblies spotlight settler space as always already ghosted and constituted by Indigenous b...

Contemporary Theatre Review, Jul 3, 2021

InTensions

This article engages performance art as a critical intersticiality in which to excavate those nec... more This article engages performance art as a critical intersticiality in which to excavate those necropolitical forces that mobilize human rights for (white) settlers across the same civic spaces in which racialized others are brutalized and die, in Canada, in 2016. Moving with several scholars of antiracism, dance studies and Indigenous theory, I self-reflexively analyze my piece “Un/bound,” that explores gendered racial violence against Indigenous women in Winnipeg, Manitoba. Contextualizing my performance within the larger installation Storying and Unsettling Ourselves,I discuss the powers of art to incite shifts in consciousness, where settlers, as artist-scholars, move from spaces of guilt into spaces of direct action in the struggle against colonial violence in Canada, and across the hemispheres.

Performing (in) Place: Moving on/with the Land, 2022

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des

Performing (in) Place: Moving on/with the Land, 2022

In July 2020, I relocated from the territory of the Lenape in New York City, New York, to the anc... more In July 2020, I relocated from the territory of the Lenape in New York City, New York, to the ancestral homelands of the Coast Salish Peoples and the Lummi Nation and Nooksack Tribe, otherwise known as Bellingham, Washington. As a settler Canadian and "dependent" on my partner's US work visa, I wrestle with my precarious yet privileged footing here in the southern part of Turtle Island. As well, friends and family often ask me how I am "settling in." I deploy this very question as a provocation to ask, As a white settler, what does it mean to both responsibly unsettle oneself and "settle in" to a new home on stolen land? At the same time, due to the complexities of moving across the country during COVID-19, I feel unmoored and disconnected from my immediate surroundings. I am the most grounded when I am dancing. Working through the metatarsals of my feet, those bones that absorb shock and engender soft landings, is both a metaphor and a methodology ...

Voice and Speech Review, 2020

This article highlights the experience of Indigenous performers in Canada; it makes recommendatio... more This article highlights the experience of Indigenous performers in Canada; it makes recommendations on how to better serve Indigenous actors-in-training, for appropriate and effective accent and language resource creation, and on how to improve the ways that professional Indigenous artists are supported in roles requiring Indigenous language and/or accents in theatre, television, and film. This project reviews the outcomes of four focus group discussions with Indigenous performers around the topic of accent and language training and its use in performance. Participants reported on their experience with accent and voice training in western and Indigenous performance training institutions, on their experience performing in traditional language and/or performing with an Indigenous accent of English, how they felt performance training can be decolonized, and on the accent/ language resources they felt were important to improve training opportunities for Indigenous artists.

Dancing the World Smaller, 2019

Mark Franko, Series Editor French Moves: The Cultural Politics of le hip hop Felicia McCarren Wat... more Mark Franko, Series Editor French Moves: The Cultural Politics of le hip hop Felicia McCarren Watching Weimar Dance Kate Elswit Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes Gabriele Brandstetter Dance as Text: Ideologies of the Baroque Body,...

Canadian Theatre Review, 2018

Winnipeg, Manitoba is located on the sacred territory of the Anishinaabeg, Cree, Oji-Cree, Dakota... more Winnipeg, Manitoba is located on the sacred territory of the Anishinaabeg, Cree, Oji-Cree, Dakota, Dene, and the Métis Nation. Like most Canadian cityscapes, though, these unceded lands are the grounds on which Jets hockey, the Canadian Museum for Human Rights (CMHR), and the Royal Winnipeg Ballet (RWB) take centre stage. Punctuating the city’s skyline from the historic downtown Forks site, the CMHR marks Winnipeg’s rising sense of self as a tolerant multicultural centre. However, as Indigenous-led choreographies of assembly continue to demonstrate, these sites of settler life are the same sites where Indigenous women and men are brutalized. In this essay, I specifically move with the February 2018 March for Tina Fontaine and the annual Drag the Red initiative as my objects of analysis. Looking closely at gendered racial violence, performativity, and necropolitics, I discuss how these public assemblies spotlight settler space as always already ghosted and constituted by Indigenous b...