We analyse how Maghrebi creative practice transcends linguistic, social, and political boundaries, offering possibilities for profound intercultural exchange. We examine how creative practice is employed in constructing cultural identity, peaceful political resistance, and decolonisation of Maghrebi citizens and nations. Grounded by a theoretical framework of art and interculturality, critical intercultural communication, and performance studies, this study analyses women’s intercultural arts-based practice and performance in the North African Maghreb region. The analysis suggests that, whilst it is possible to override the impact of hierarchies within such a translation event, more typically societal inequalities that impact negatively on translation processes are maintained. A socio-analysis of the power dynamics within two examples of practice is facilitated by conceptualising deaf and hearing as Bourdieusian fields.
Drawing on Participatory Action Research and Applied Theatre methodologies, deaf and hearing actors create bilingual (British Sign Language and English) performances without pre-existing source texts, a process that is dependent both on the translation strategies employed within it, and on the societal conditions of deaf-hearing inequality.
This article draws on doctoral research that interrogates theatre-making techniques that might provide equality of participation in performances for deaf and hearing people. Drawing on interview narratives, we argue that this pedagogy empowered the learners to explore new ideas, accommodate differences by rising above borders and build relationships with their peers and the instructor with dignity and tolerance.ĭeaf people are typically encouraged to participate in theatre through the medium of sign language interpreted performances, translation events that the majority of deaf spectators do not consider effective in providing accessibility. We demonstrated that this third space pedagogy was often not a happy, idealistic space, but involved working at uncomfortable edges to reach a worthwhile space of possibilities. The data collection process involved interviews with learners, classroom and rehearsal observations, journal entries along with videography and photographic documentations. The principal aim was to develop an understanding of how the Bhabhaian 'third space,' which refers to a new space where fixed notions of cultures/identities are challenged, and the Tagorean model of (dance) education could cross-converse with each other. Bhabha, as a pedagogical tool for delving into how new knowledge was constructed and relationships were mediated inside classrooms when Tagore dance (the first 'modern dance' in colonial India, conceived by Rabindranath Tagore) was introduced to learners of a mid-western university in the USA, through a month-long residency (Fall, 20). The game's campaign is spread out over eight missions, and you can also play an additional eight stand-alone missions that are unrelated to the story.This case study investigated 'third space', theorised by Homi K. As a result, he calls upon his friends for help. Hatchi soon finds that his homeland is overrun by enemies.
Stay out of the way of your enemies or attack them when you feel there is no other option.Ĭultures: Northland follows the story of a wandering band of Vikings, guided by a quartet of heroes named Bjarni (son of the famous explorer Leif Ericsson), his lover Cyra, and their friends Hatchi and Sigurd. As their skills improve, new careers are opened to them. As they go about their careers, their skills improve. Babies are born, grow up, and are assigned careers of their own.Each person is a unique character who can be assigned a career. Watch your people walk, eat, sleep, and talk to each other for entertainment. Manage your settlement and its Settlers, erect new buildings, raw materials will roll in, finished goods will roll out so you can grow more people.
Create a thriving settlement with farms, bakeries, Potteries, Mason Shops, Schools, Armories and many more.