Zine of the project documenting and tracing the Ambedkarite movement in the 1970s.
Critical analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners.
The first anthology to chronicle the global critical reception of Aboriginal Art since the early 1980s, when the art world began to understand it as contemporary art.
Part of Library of Performing Rights (P3041)
Discusses how citizenship is performed today, through the optic of the arts, in particular the performing arts, but also from the perspective of a wide range of academic disciplines such as urbanism and media studies, cultural education and postcolonial theory.
Part of Library of Performing Rights (P3041)
Examines how the grammar of geology is foundational to establishing the extractive economies of subjective life and the earth under colonialism and slavery.
An important addition to the current body of scholarly material on contemporary performance and theatre; it provides both a detailed focus on a number of important performance works as well as developing a framework for the interpretation of contemporary performance.
Part of the Library of Performing Rights (P3041).
Interrogates the often fraught endeavours of activists from colonial backgrounds seeking to be politically supportive of Indigenous struggles.
Part of the Library of Performing Rights (LPR) (P3041).
Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign’ culture speaks for itself.
Part of the Library of Performing Rights (LPR) (P3041).
Reading wesistive choreographies through works by Jawole Willa Jo Zollar and Chandralekha.
Part of the Library of Performing Rights (LPR) (P3041).
The Library of Performing Rights is a unique resource containing over 250 items submitted by artists, activists and academics from around the world that examine the intersection between performance and Human Rights.
The catalogue is available here and is continuously updated.
Please note the Library is currently housed in the Study Room but is a touring Library so please contact LADA before your visit to check it is not out on the road.
The article analyses discourses surrounding the cancellation of Brett Bailey’s performance by the Barbican in September 2014.
This book documents the two most recent works by the British artist and filmmaker Isaac Julien.
A study of how contemporary women artists have reconceptualised the figure of the female nude.
This volume delve into the work of artist Myriam Mihindou from philosophical and practical standpoints.
An indepth analysis of the work of three significant African diaspora artists – David Hammons, Maria Magdalena Campos-Pons and Pamela Z – with essays examining site specific installations and peformances concieved by these artists for Dak'Art 2004, the Biennale of Contemporary African Art
Engages critical dance studies, philosophy, performance studies, cultural and post-colonial studies to propose new and creative dialogues between these disciplines.
The publication examines the contemporary legacy of the psychoanalyst, political philosopher, and writer Frantz Fanon in the work of leading multicultural arts practitioners and critical writers.
Part of Dia Art Foundation series “Discussions in Contemporary Culture”, Number 4. Essays by Edward W. Said, Paula A. Treichler, Cornel West, Michele Wallace, Homi K. Bhabha, Gayatri Chakravorty Spivak and others.
Live Art Letters – A Live Art Research Journal. March 1999. Text in English and French.
A collection of essays by international scholars that addresses the global development of performance research in the late twentieth and early twenty-first centuries. The collection functions as a critical reader on diverse approaches to studying performance that contest dominant paradigms of performance studies.
Illustrated rigid concertina with text.
Based on a new performance series the artist began in May at the Louisiana Museum of Modern Art as part of the ‘Made in China’ exhibition.
Book documenting the work presented at the gallery Artspace, Sydney, in which for 3 days the artist remains locked in a cage with a Dingo. Engaging with the themes of Joseph Beuys’ work, Stitt provides a reflection on acts of arrival and colonial encounter in relation to aesthetic activity and cultural dialogue.