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Focusing on rose scents and their contested meanings in Turkey, this talk examines the potential and limits of docu-poetry to foster shared affective terrains, engaging subjects with conflicting social imaginaries while acknowledging persistent social and structural divides.

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Following the establishment of the Republic, Turkey underwent a profound cultural and political transformation grounded in the ideology of modernization. This process produced a deeply polarized social and cultural landscape, structured around tensions between so-called Westernizing-modernist ideals and traditional-Islamic values. The effects of this binary were not confined to political discourse; they also extended into everyday cultural practices, aesthetic regimes, and the formation of subjectivities.

This division becomes particularly legible in relation to the scent of rose. For Sunni Muslims, rose scent carries deep affective and religious significance, as it evokes the Prophet Muhammad and Islam more broadly, rendering it a cherished and valued fragrance. For secular subjects, especially those raised under religious pressure within Islamic family structures, the same scent can become intolerable, saturated with embodied memories of discipline, control, and patriarchy.

In my anthropological project, which explores the place of rose scents in everyday life and their socially contradictory meanings in contemporary Turkey, I write docu-poems that engage opposing affective landscapes of rose fragrances. Docu-poetry functions here as both method and form, providing a means of attending to affective dimensions that often exceed conventional ethnographic representation. I ask whether docu-poetry can offer a space in which otherwise disconnected subjects with opposing social imaginaries might engage affectively. Drawing on the “Rose-Scents and Sensory Docu-Poetry Workshop” that I facilitated, this talk discusses both the possibilities and the limitations of docu-poetry in fostering such shared sensory-affective encounters.

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One of the 'successes' of what Mark Fisher calls capitalist realism is persuading us that it is easier to imagine the end of the world than the collapse of the existing system. Experimental choreographies challenge this logic, inviting audiences to suspend limits imposed on imagination.

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One of the “successes” of what Mark Fisher calls capitalist realism is its capacity to persuade us that it is easier to imagine the end of the world than the collapse of the existing system. In this presentation, I discuss choreographies by women artists that challenge this narrative by inviting audiences into embodied, sensorial forms of speculation about the dismantling of the limits imposed on the imagination by instrumental and alienated rationality. I refer, among others, to Ewa Dziarnowska’s performance 'This resting, patience,' Flavia Zaganelli’s 'Placebo Dances,' Clara Furey’s 'Unarmoured,' and 'The End' by Magda Jędra and Kasia Kania, in which the principle of efficiency is replaced by the principle of pleasure. The dramaturgy of these performances does not lead to fulfilment or culmination; instead, it continually invites audiences to engage in the collective practice of attentiveness as a relational and aesthetic quality that, as Anna Tsing suggests, makes it possible to move beyond the capitalist logic of progress. Above all, what these artists produce are utopian impulses in Jill Dolan’s sense, generating temporary heterotopias in the “here and now.”

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This presentation on Weathered Theatre (WT)—a mixed ability, mixed-media intercultural theatre installation in Kerala, India (April 2026) on weather and plants—will focus on how such performative logics enhance “entangled modes of being” of the (non)human.

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This presentation on Weathered Theatre (WT)—a mixed ability, mixed-media intercultural theatre installation in Kerala, India (April 2026)—will focus on how such performative logics enhance “entangled modes of being” of the (non)human. With blind, Deaf, hard-of-hearing, and non-disabled participants, we will activate “wild weather experiments” across performativities that include portable crip sensory boxes, paper kinetic sculptures, “wearing the land” costumes, and film. WT unfolds through the interactions of Weather Chasers, Weather Spirits, and Plant Scripters. The latter figures, to which we will pay particular attention, are inspired by Jagadish Chandra Bose’s cresographs, instruments that measure the minute movements of plants as “scripts” or “autobiographies.” Kerala’s local plant histories have also played a key role in the development of global plant taxonomies through the Hortus Malabaricus, a 17th century compendium on plants by Hendrik van Rheede, which later influenced Linnaeus’s construction of his plant taxonomies. These performative and ethnographic investigations will result in a critique of static taxonomies of plant life as well as accessible cross-sensory performance design, instruments, and structures that artistically disseminate local earth data and that increase our methodological toolkit for new modes of inquiry, collaboration, and dissemination.

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This paper examines a Deaf, blind, and Deaf blind theatre in Jaffa, where care is co created through intersensory collaborations. Everyday and artistic practices reveal how performers bridge profoundly different sensory worlds.

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This paper argues that care in the Deaf blind theatre examined here is not a stable or predefined practice but an ongoing collaboration. Based on long-term ethnography, the study analyzes how actors, directors, and practitioners negotiate the social, political, and affective labor required to make performance possible across conflicting modes of communication, including tactile sign language, glove language, audio description, and haptic cues.

The intersensory collaborations described here are embedded in architectural design as well as in everyday acts such as maintaining the fixed placement of coffee jars so blind users can independently navigate shared spaces. These practices generate what ensemble members describe as a transformed sensory consciousness. Blind actors learn tactile sign language, Deaf actors adapt movement for colleagues who cannot see, and directors revise dramaturgy when hands required for signing cannot simultaneously manipulate props.

By foregrounding the creative frictions and mutual adjustments that emerge in rehearsals, backstage labor, and live performance, the paper demonstrates how this case study rehearses a politics of care through difference. The theatre becomes a micro infrastructure of social repair that challenges normative sensory hierarchies and models alternative futures of coexistence within a conflict ridden and highly diverse urban context.

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Randia’s Quiet Theatre: Performing Care and Activism with a Romani Elder examines performance ethnography and autofiction as political sites for imagining alternative futures, articulating more-than-human ethics, and enacting practices of worldmaking.

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Drawing on my book, Randia’s Quiet Theatre: Performing Care and Activism with a Romani Elder, this paper examines performance ethnography and autofiction as political sites for imagining alternative futures, articulating more-than-human ethics, and enacting practices of worldmaking in contexts marked by discrimination and exclusion. I focus on dramatic storytelling sessions with Randia, a talented Romani storyteller and performer, which aimed to document her life as an elderly and disabled woman in post-EU accession migration-era Poland. Randia, the mother of eight, saw many of her children move to England, and when old age and disability prevented her from fortune-telling, she became a “prisoner of the fourth floor”—a condition defined by loneliness, lack of basic amenities, silence, and the absence of “quiet care.”

In our dramatic storytelling sessions, Randia stepped into her characters, and the roved—between the past, the present, and the future, between different locations, and between the world of the living and the world of the spirits. Through performance, her characters changed history and the lives of others. They could even undo death. I argue that Randia’s performances were a form of quiet activism—a mode of listening and being present—that rehearsed alternative lives, worlds, and futures for herself and her loved ones. She articulated an ethics of care among individuals, communities, and spirits, grounded in collaboration and shared vulnerability. Ultimately, I examine the potential of performance ethnography as a means of intergenerational knowledge-sharing that imagines a world where elderly can live dignified lives.

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Sanadurías is a Colombian collective exploring diverse peace concepts from indigenous communities and conflict victims. Emerging from an ethnographic research and museographic exposition amid the country's post-2016 peace process, it uses embodied, artistic methods to transform social realities.

Paper long abstract

Sanadurías is a Colombian research collective part of a broader group called Centro de Pensamiento Pluralizar la Paz. Sanadurías was born as a museum exposition with the results of an ethnographic project about the different concepts of peace of different indigenous communities, and of the members of the Association of Victims of North Antioquia. Because of a long recent history of social division in the country caused by an internal armed conflict between guerillas, military and paramilitary groups, peace has been at the centre of debates about the future of the country, being the signature of a 2016 peace deal an important landmark. However, the conflict did not end but transformed into a more complex network of actors that put pressure most affecting people in isolated parts of the country. Responding to this context, Sanadurías has sought to generate dialogue about practices of peace from the heterogeneity that characterizes Colombia’s people.

Sanadurías has reflected about how its initial ethnographic methodology had been influenced by non-verbal and embodied ways of knowing of the people involved. This, together with the recent new direction by an anthropologist and dancer, has propulsed Sanadurías to address peacemaking from its symbolic dimensions, looking to enrich conditions of possibility for conflict resolution through the arts, the embodied, and the sensible. This is thought to facilitate the transformation of social realities that involve violence and conflict today by fostering collaboration between people regardless of their differences, looking to think and act for a future where all can belong.

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This research examines the creation of FeelBeit, a Palestinian–Israeli cultural institution in Jerusalem. Through ethnographic fieldwork and drawing on the theory of prefigurative politics, I trace how the institution works to imagine and enact a shared future through art and culture.

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This research examines the reformation and emergence of FeelBeit, a Palestinian–Israeli cultural institution in Jerusalem. Alongside the city’s conservative cultural sites—its theatres, museums, and religious spaces—Jerusalem is also known for festivals and site-specific performances. In 2019, a long-running Israeli festival opened a club named FeelBeit (a wordplay across Arabic, English, and Hebrew meaning “inside the home” or “feel at home”). What began as a pop-up festival venue gradually evolved into an autonomous cultural institution that seeks to cultivate a pluralistic space and experiment with forms of Palestinian–Israeli cultural coexistence.

“Everything we present is rooted in love for the diverse people of this place. We are driven by a conviction that when all else breaks down, art and music must break through” (FeelBeit, n.d.).

Grounded in the theory of prefigurative politics, which emphasizes collective practices as sites for enacting alternative futures (Gordon, 2018; Jeffrey & Dyson, 2021), the paper draws on in-depth interviews, participant observation, and textual analysis. It traces the artistic and administrative dilemmas involved in curating and sustaining a Palestinian–Israeli cultural home, focusing on discrepancies in power relations, management roles, budgeting practices, language use, and the articulation of the institution’s vision.

The paper asks how a Palestinian–Israeli cultural institution seeks to envision the future through artistic practice. What defines a shared—or contested—space in a settler-colonial context? And how do Palestinians and Jewish-Israelis attempt to create, negotiate, and contain a common artistic language under conditions of structural inequality?

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In winter 2025-6 US Immigration and Customs Enforcement (ICE) invaded my hometown of Minneapolis. I consider the ensuing state violence and public protests both as an eyewitness and through the anthropological-historical lens of midwinter considered as a time of masking and ritual license.

Paper long abstract

Across the northern hemisphere, winter has long been associated with masked and costumed figures, often identified as otherworldly visitors, whose appearance triggers a temporary suspension of the everyday order. In winter 2025-26 my adopted hometown of Minneapolis, Minnesota was subjected to a different kind of visitation by US Immigration and Customs Enforcement (ICE). Targeting Somali and Latinx communities, ICE raided homes and workplaces, kidnapping and detaining people with no semblance of due legal process. When Minnesotans turned out in peaceful protest, ICE responded with further violence, culminating in the fatal shooting of 37-year-old mother of three Renee Good. I discuss these events both as a sometime eyewitness and through the anthropological-historical lens of midwinter considered as a time of masquerades and ritual license. Anonymizingly masked ICE agents, acting on behalf of an authoritarian government, deployed law-flouting violence to spread terror and enforce obedience, recasting winter as a time to expel those deemed not to belong. Protesters seeking to impede them often had recourse to whistles, loud music, or animal masks and costumes. Meanwhile, outdoor cultural events in parks or on frozen lakes came to be coded as acts of defiance, collective expressions of joy and creativity taking place despite ICE’s stultifying presence. Were such actions not least a performative assertion of openness staked against the politically and ontologically constricting imperatives of state violence? If so, could it be said that Minnesotans were defending both our immigrant neighbors and winter itself as a season of receptivity to visitors from other worlds?

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The slam poetry competition Best Poet of the Suburb is an empowering arena for young people in Sweden to share identity issues and racism, but also of love and having some fun. When the competition was cancelled, a riot broke out.

Paper long abstract

In my research on migrant writing in Sweden, I include performing literature and poetry such as the slam poetry competition Best Poet of the Suburb. It is an empowering arena for young people to share identity issues, experiences of racism and violence, but also of love and having some fun. Best Poet of the Suburb is organized by United Suburbs. More than one hundred young people compete in qualifying competitions around the country. The finale is held in Stockholm, drawing an audience of up to four thousand people.

One aspect of performance theory is risk – a live performance can go wrong, either on stage while it is taking place, or afterwards when its frames are extended. This happened when it was announced during a performance of Best Poet of the Suburb that the competition was to be cancelled. This ignited a riot at the nearby subway station as the audience was leaving. According to the organizers, the reason for the cancellation was twofold: lack of funding and local politicians’ disapproval of the event. Having experienced the electrifying atmosphere at the competition, Nesrin Yilmaz suggested that the lack of funding from government and municipality was a way to stop art that is critical of mainstream culture. Nesrin went on to say that Best Poet of the Suburb that “had a short but successful life span provides an interesting observation point for different perspectives related to the freedom of artists, identity formation, and power structures.” Now the competition is back.

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This talk explores Arabeska, a dance work navigating Western-Arab binaries in Palestine/Israel. I examine how the piece choreographs relational possibilities that resist cultural erasure, cultivate community, and foreground the vitality of performing bodies in times of violence and polarization.

Paper long abstract

Arabeska is a dance work by choreographer and dancer Nur Garabli, created and performed in Palestine/Israel amid the violent events of 2024–2025. The work’s title invokes the French‑Orientalist gaze toward Arab‑Muslim culture (“arabesque,” meaning “in the Arabic style”), and the piece engages both with this gaze and with the cultural appropriation of “Arabness” within Western colonial formations.

In this talk, I explore Arabeska as a situated performance practice through which Garabli negotiates categories that often operate as polarizing and exclusionary mechanisms (Western–Arab, classical ballet–folk dance), choreographing a kinesthetics that exposes and entangles these imposed binaries.

Performed by five Palestinian women, Arabeska takes viewers on a journey that bridges past and present, imagines possible futures, resists persistent cultural and historical erasure, and refuses the denial of present-day events. The work foregrounds steadfastness and presents women’s dancing bodies as a source for connection and community building in a fractured political landscape.

I read Arabeska through two analytic concepts: (1) sovereignty in art, where alongside acknowledging the visual sovereignty embodied in Indigenous art (Rickard 2017), I propose thinking through kinesthetic sovereignty in dance; and (2) political timing-specific art (Bruguera 2020), art that emerges from a particular historical moment and seeks to intervene in it, resist it, or transform it. Together, these concepts illuminate how performance practices cultivate embodied vitality in times of intensifying violence and polarization.

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This paper (auto)ethnographically explores how specific artistic-didactic practices of performance – geared towards questioning polarisations and encouraging learning and (re)connection through relational movement – take effect and are questioned in different (neo)liberal educational contexts.

Paper long abstract

In this paper we reflect on experimental artistic-didactic practices of performance. We do this by zooming in on the Tango Vocabulario, a collaborative artistic tool and resource (inspired by (Queer)-Tango practices) we have developed and are using in our work as scholars, lecturers and dancers at Universities in Austria and Switzerland within different disciplinary cohorts (ranging from anthropology to business students).

In our approach, we juxtapose different theoretical stances and topics and subject them to movement, with an understanding of performance as an everyday-mode (Erving Goffman). We literally apply concepts of relational movement (Erin Manning), and dance philosophical approaches (Marie Bardet) that allow for, on the one hand, reframing a research setting as moving with a topic, grasping the processuality of life, and on the other hand, subverting binaries also on a theoretically level.

We work (auto)ethnographically, comparatively and movement-centered to explore how specific didactic practices of performance geared towards questioning polarisations (body-mind, male-female, leading-following, objective-subjective/reflexive knowledge, etc.); and encouraging learning and (re)connection (to oneself and others) through relational movement take effect. While we focus on performance rather than critique of institutions, our approach is inevitably questioning the paradigm of excellence that neoliberal transformation in education is subject to.

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This paper experiments with resituating western classical opera, a polarising artform, in Global South contexts, in this case Sri Lanka, arguing that this ‘estrangement effect’ both reveals and responds to young people’s experiences of social and emotional distress in creative and disruptive ways.

Paper long abstract

What can using opera as an ethnographic method reveal about young people’s experiences of social inequality and emotional distress? This paper presents findings from ‘Open to Opera’, a three-pronged study aimed at expanding opera education, improving access in performance, and exploring operatic storytelling as an intervention for building emotional resilience among young people in Colombo, Sri Lanka. This study was developed in response to disparities in youth mental health outcomes, particularly suicide rates that are twice those of high-income countries (Knipe et al., 2017). Sri Lanka represents a post-colonial and post-war landscape characterised by class and ethnic divides, and is presently reeling from its worst economic crisis post-independence. The study was conducted through collaborative workshops with aspiring music undergraduates who are excluded from elite classical music-making spaces in Colombo largely to due class and linguistic barriers. ‘Open to Opera’ used operatic storytelling to explore everyday struggles including family conflict, bullying and loneliness, culminating in a public showcase which included student-led compositions drawing on their lived experiences of distress. While western classical opera is a polarising artform which typically excludes marginalised populations, this paper argues that resituating the artform in the Global South resists opera’s racist and elitist legacies while making it possible for young people to articulate their distress in new ways by stepping into a different cultural space. Through a form of ‘estrangement effect’ (Brecht, 1977), their lived experience is rendered audible in ways that are at once creative, hopeful, safe, and productively disruptive.

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This paper explores intergenerational shifts among Vannan Dalit Theyyam performers, showing how dignity, livelihood, and caste identity are negotiated amid cultural valorisation, economic change, and enduring caste hierarchies.

Paper long abstract

Theyyam is a Hindu ritual tradition commissioned largely by upper-caste (Savarna) households and performed predominantly by Dalit communities in North Malabar, Kerala. Through the invocation of a deity into the body of the Dalit performer, Theyyam enacts both ritual authority and caste hierarchy. While often studied as a form of ritualised resistance, where performers voice critiques of oppression and inequality, it also remains a hereditary caste occupation that constrains economic and symbolic mobility.

Among the Dalit castes associated with Theyyam, the Vannan community maintains a long-standing relationship through cherujanmavakasham, the inherited right and obligation to perform. This claim offers ritual legitimacy but also binds families to caste stigma, coercive service, and social sanction, producing intergenerational desires for dignity through distancing from caste-bound labour.

In recent decades, Theyyam has been transformed through tourism, corporate patronage, and political appropriation as a celebrated cultural symbol of Kerala. This valorisation has increased performers’ visibility and economic opportunities, yet often erases the ritual’s caste foundations and critical edge.

Drawing on ethnographic research, this paper examines how different generations of Vannan performers negotiate livelihood, dignity, and caste identity within this altered cultural economy. It argues that caste polarisation is not a fixed binary but a dynamic field where hierarchy and critique, recognition and erasure, are continuously reproduced and contested. Vannan performers’ lives reveal uneven and reversible pathways in which mobility aspirations remain deeply entangled with caste reproduction.

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This ethnographic performance tells the story of King (pseudonym), a Rwandan refugee in Hong Kong, and how he uses music to make meaningful connection between the past and the future, righting what was wrong in his life, and his world.

Paper long abstract

What does it mean for a Rwandan refugee to stand on stage and sing? This 15-minute ethnographic theater performance draws on long-term ethnographic fieldwork with African asylum-seekers and refugees in Hong Kong since 2012. The performance tells the story of King (pseudonym), a survivor of the Rwandan genocide, and his self-making project as a musician in exile. Living in enforced destitution, denied legal access to employment and money, and stuck in an uncertain wait for resettlement, King relies on music – and performance as a singer – to make meaningful connection between the past and the future, righting what was wrong in his life, and his world.

The narrative goes beyond assessing how music could address refugees’ trauma or improve their well-being, and asks how a refugee experiments with music to restore his identity and meanings of life in the aftermath of genocide and in forced displacement. Inserting himself into different spaces and communities that afford him access to music production and performance, King’s structural vulnerabilities nevertheless impact his interactions with the NGOs, local HongKongers, white expatriates, and fellow Africans he depends on to make music. His transnational obligations also make every dollar he puts into music an ethical dilemma.

The ethnographic performance is also an invitation to consider multi-modal ethnography in practice. How may anthropologists use theater to interrogate “what does it mean to be human”?

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Based on ethnographic research in Istanbul’s independent theatre scenes, this paper examines how women artists navigate polarized cultural conditions through performative practices of collaboration and vulnerability, treating care not as a theme but as a relational modality of staying together.

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This paper examines how women working within independent theatre scenes in Istanbul negotiate polarized political, moral, and economic conditions through everyday performative practices. Based on long-term ethnographic research conducted for a thesis at KU Leuven, the study draws on sustained engagements with women performers, directors, and cultural workers active in non-institutional theatre spaces characterised by infrastructural fragility, moral regulation, and chronic precarity.

Rather than approaching care as a thematic concern or normative value, the paper conceptualises it as a relational and performative modality—a way of coordinating bodies, temporalities, and affects under conditions of polarization. In a city shaped by neoliberal cultural policies, shrinking public support for the arts, and increasing pressure on women’s presence in public life, theatre emerges as a fragile space where vulnerability, collaboration, and endurance are continuously negotiated.

The analysis foregrounds embodied and temporal practices through which artists sustain collective work, including reorganising rehearsal rhythms around childcare and multiple livelihoods, maintaining horizontal modes of decision-making, and transforming exhaustion and fragility into shared capacities for artistic continuity. These practices do not take the form of overt resistance; instead, they generate entangled modes of being that complicate oppositional logics by enabling artists to remain present and connected within fractured cultural landscapes.

By situating Istanbul as a critical site of polarized cultural production, the paper contributes to anthropological debates on performance in contexts of crisis and constraint. It argues that everyday performative practices function as experimental grounds where alternative ways of staying together are provisionally enacted rather than fully resolved.

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My presentation will be on a workshop on ethnographic theatre I conducted at Joy House, Mae Sot on the meaning of home. Based on storytelling, the participants took the performance into their own hands by writing a script about stories of memory, painful loss, and new beginnings.

Paper long abstract

My presentation will be on a workshop on ethnographic theatre I conducted at Joy House, Mae Sot, in January 2025, on the meaning of home. Based on storytelling, the participants of my workshop took the performance into their own hands by writing a wonderful script about stories of memory, pain, and loss, about the talisman, and new beginnings at the community center Joy House- a place by Burmese for Burmese. My presentation is about the way democracy and human rights activists from Myanmar imagine home and leaving behind the role of being a victim/ refugee. Performing allowed participants to be visible, reclaim dignity, and tell the painful story of Myanmar in a performative way. Creating powerful images about home, the participants experimented with mixed media and other forms, including political performances and podcasts. Moving from biographical theatre to Forumtheatre, the participants creatively used videorecording to speak out about their lives interrupted by wartime, to a Burmese audience. Becoming the “fireflies”, young people in Mae Sot took their fate into their own hands, moving from traumatic experiences to artistic production. The presentation will delve into creating an ethno-drama based on the storytelling of actors. Through documentary, I aim to demonstrate how the community of practice is fostered by the performing arts to promote recognition, hope, and a life of dignity.

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This paper explores how techno clubs in the post-Soviet context can acquire social and political meaning, using Bassiani in Tbilisi as a case study. It draws on interviews and ethnographic observations.

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Named after the Battle of Basiani, a historical reference associated with struggle but also braveness, the club Bassiani in Tbilisi already carries political resonance in its very name. Techno clubs in the post-soviet space are often discussed as spaces where social change and political meaning intersect, particularly in contexts shaped by post-socialist transformations and political tensions. Using Bassiani as a case study, this paper examines how a nightlife venue can become socially and politically significant beyond its function as a space for music and leisure. Bassiani has gained international visibility since the 2018 police raids and subsequent protests, frequently being framed as a symbol of progressive culture. Based on qualitative interviews with individuals connected to the club (including founders and attendees) and ethnographic observations conducted in Tbilisi, I analyze how political meaning is produced through narratives, symbols, and everyday practices around the club. Rather than treating political significance as a fixed category, I approach it as a process that emerges through public representation, collective memory, and the social experience of nightlife. By focusing on Bassiani, the paper contributes to broader discussions about how nightlife spaces in Eastern Europe and the post-Soviet context can become meaningful places for a generation that seeks cultural and personal freedoms, negotiates questions of gender and belonging, and positions itself within a contested political landscape marked by repression and geopolitical tensions. The case of Bassiani highlights how cultural venues can function as infrastructures of visibility and value-making, shaping social worlds that resonate beyond the dancefloor.