DRAMATURGIES SPEAK OF TERROR , DRAMATURGIES SPEAK TO TERROR
The proposed presentation offers an exploration of the construction and reconstruction of events by dramaturgies . It discusses two sorts of dramaturgies . Those that constitute terrorism, and those that stem from terrorism .Both dramaturgies can be ( a) modes of action ; ( b) interpretive elucidations, that is « interpretants » in Peirce’s sense ; and (-c) « hieroglyphs » of sorts, by which I mean that certain elucidations are themselves in need of being deciphered .
First of all , I shall discuss dramaturgies and rituals that are staged by terrorist organizations themselves as part of their strategies of visibility . For a long time such dramaturgies were offering a model of the terrorist as an ambassador acting in the name of helpless victims . By now such a model seems obsolete . Another model has replaced it . It is a model of « crime and punishment » ,one that is dominated by the staging of the victim ( whether “criminal “or not ) as « Homo Sacer » (Agamben)
The second part of my presentation is concerned with the examination of societies that are exposed to terror . In such societies terrorism triggers « social dramas » ( V Turner ) that are both very specific and often unexpected . Who does one mention in such societies when one discusses terrorists? What do the french publics discuss when they discuss the Bataclan massacre ? What do spanish publics argue about when they debate about what occurred in Madrid’s Atocha station? What do situations of intense stress do to “agenda setting » ? Can one speak –in almost freudian terms– of« displacements » of collective attention ?
In other terms , how are certain « dramaturgic Interpretants » of given events made to become prominent ? Two such events , both french , will be discussed . My first example concerns the « Charlie hebdo » killings and how they lead to a collective focus on what I would call the « War of the Charlies » : « I am Charlie » ! » « I am no Charlie ! » « I am charlie Coulibaly ! » ; « Who is Charlie ? » My second example asks the question of what made the issue of « hatred » or « no hatred » a major issue concerning the « Bataclan » massacre as in the phrases « J’ ai la haine » or « Vous n’aurez pas ma haine ! ». or “Jamais je n’ai ressenti de haine” . Is there a something which one could call the « Syndrom of the Bataclan « , as in the famous « Stockholm Syndrom » ? Are there dramaturgic registers that are specific to traumatized societies ? Is denial one of them ?
Daniel Dayan is a fellow of the Marcel Mauss Institute ( School of Advanced Study in the Social sciences, Paris ), and a professor at the Levinas European Institute . Dayan has been Research director at CNRS-Paris, and a visiting professor at Sciences-Po , the universities of Stanford, Geneva, Tel Aviv, Oslo. He has also been an Annenberg scholar at the University of Pennsylvania, and for many years a visiting professor of Sociology at The New Schoolfor Social Research , NY . A former fellow of the European Science Foundation, resident of the Rockefeller Foundation, Bellagio , and guest of the Institute of Advanced study ( Jerusalem ) he received the International Communication Association award for his book with Elihu Katz “Media events, The Live Broadcasting of History” , a book to be commemorated this year by the Journal “ Media Culture and Society “ . Dayan’s work is presently available in 13 languages
"Not your Mama’s Movement"
(in French: "De Paris a Ferguson : coupables d'être noirs"), 2015
My name is Rokhaya Diallo, and I am a French Activist and Journalist
who hasbeen fighting for racial, gender and religious equality.
In 2005, the deaths of two innocent French young men of color, Zyed
Benna and Bouna Traoré, inspired my stand against the racial
oppression plaguing French society.
Dissimilar to the United States, the victims of French police
brutality are sorely neglected by the media and unnoticed on a
global scale. I am committed to changing this. In the U.S,
the acquittal of Trayvon Martin's murderer, and the failure to hold
white policemen responsible for the deaths of Michael Brown and
Eric Garner triggered indignation across America.
The ensuing demonstrations ushered in a new generation of Black
activists. Mobilizing behind the #BlackLivesMatter campaign,
social networks have become the battleground for challenging power
structures, policies, prejudices and attitudes.
Viewing America's racial turmoil from a foreign lens, I wanted to
meet these new emblematic leaders of the African American community.
Traveling to Ferguson for the anniversary of Mike Brown's death,
I was introduced by American activist Rahiel Tesfamariam, founder
of Urban Cusp, to the leaders of Hands Up United and other
torchbearers for the #BlackLivesMatter movement. Together we drew
parallels between the racial struggles in the U.S. and France and
devised visionary solutions to ameliorate the global Black
Rokhaya Diallo, French journalist, writer and filmmaker, is widely recognized for her work in favor of racial, gender and religious equality. She is a BET-France host and has produced and/or directed documentaries, TV and radio programs. She published: Racism: a guide, France Belongs to Us;France: One and Multicultural and How to talk to kids about racism. She recently published a graphic novel “Pari(s) d’Amies” and released Afro! featuring Afro-Parisians who choose natural hairstyles. Rokhaya launched her global bilingual blog RokMyWorld Today, she lives between Paris and New York and continues her social activism while being a speaker around the world.
Among early Hollywood’s most renowned filmmakers, Lois Weber was considered one of the era’s “three great minds” alongside D. W. Griffith and Cecil B. DeMille. Despite her accomplishments, Weber has been marginalized in relation to her contemporaries, who have long been recognized as fathers of American cinema. Drawing on a range of materials untapped by previous historians, Shelley Stamp offers the first comprehensive study of Weber’s remarkable career as director, screenwriter, and actress. Lois Weber in Early Hollywood provides compelling evidence of the extraordinary role that women played in shaping American movie culture.
Weber made films on capital punishment, contraception, poverty, and addiction, establishing cinema’s power to engage topical issues for popular audiences. Her work grappled with the profound changes in women’s lives that unsettled Americans at the beginning of the twentieth century, and her later films include sharp critiques of heterosexual marriage and consumer capitalism. Mentor to many women in the industry, Weber demanded a place at the table in early professional guilds, decrying the limited roles available for women on-screen and in the 1920s protesting the growing climate of hostility toward female directors. Stamp demonstrates how female filmmakers who had played a part in early Hollywood’s bid for respectability were in the end written out of that industry’s history. Lois Weber in Early Hollywood is an essential addition to histories of silent cinema, early filmmaking in Los Angeles, and women’s contributions to American culture.
You can view Shelley’s piece on Lois Weber’s Shoes (1916) published in the IAMHIST Blog here.