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DRAMATISING CULTURAL DIVERSITY: YOUTH THEATRE AS A PERFORMANCE OF LOCAL MEMORY AND IDENTITY IN A MULTIETHNIC ENVIRONMENT

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Popov A., Karásek M.

Slovenský národopis (Slovak Ethnology)

2021

vol. 69

issue 3

381 - 398

This article presents a comparative analysis of two ethnographic case studies conducted in local theatres in the Slovak town of Komárno and the British city of Coventry. These two locations are very different – one is a small town on the Slovak-Hungarian border and the other an urban centre in the Midlands region of Britain – and yet they are both characterised by the multi-ethnic and culturally diverse composition of their populations. The two youth theatres in question are also distinct in their genres: one bases its performances on folklore traditions, whereas the other is an avant-garde physical theatre. At the same time, the productions of both groups manifest a deep involvement in the representation of cultural heritage and the current social issues in their respective locations. Drawing on anthropological conceptualisations of theatre as a form of ritualised performance (see Turner, 1969, 1982; Schechner, 1985, 1993), this paper explores the processes and contexts of the enactment of past conflict and/or violence presented by the two theatrical groups in order to engage with traumatic events in local (and national) history. These processes, which embrace the values of cultural diversity and inclusion, are important for the construction of community identities. The liminality of ritualised performance enables actors and audiences to cross social (including ethnicity and class) and temporal boundaries. They reproduce memories of past violence to make sense of present tensions, such as growing nationalism and xenophobia, and to project their vision of the communal future. This often results in the contestation of the very meaning of place, community and belonging. Furthermore, the article demonstrates that such artistic interpretations of the local past and heritage are instrumental in shaping the identities of the participating youth. The comparison of the two cases also reveals noticeable differences between cosmopolitan and ethno-cultural discourses, which are prevalent in imagining the place, history and heritage of Coventry and Komárno respectively.

POVEDOMIE HUNGARUS V 19. STOROČÍ

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Miskolczy A.

Historický časopis (Historical Journal)

2011

vol. 59

issue 2

215-240

Hungarus consciousness was an ideological current, which originated at the end of the 18th century as a reaction to various forms of liberalism and nationalism. Although it had a marginal position from the beginning, some of its features still survive in various considerations of the nationality question in the successor states of the former Kingdom of Hungary. The most important supporters of Hungarus consciousness were Gregor Berzeviczy, Jan Caplovic and Juraj Karol Rumy. All three came from multi-ethnic environments, spoke several languages, and so naturally rejected the basic idea of the ethnic Hungarian or Magyar nationalists, who wanted to establish the Hungarian language as the state language and demanded the gradual assimilation of the non-Magyar nations and nationalities in the Kingdom of Hungary. The idea that united them, derived from the idea of the Kingdom of Hungary as a community of equal nations. However, this 'ideal state', described by King Stephen I in his advice to his son Imrich, had no chance to succeed in the conditions of ever more dominant Hungarian ethnic nationalism.

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1 Historický časopis (Historical Journal)

1 Slovenský národopis (Slovak Ethnology)

1 Karásek M.

1 Miskolczy A.

1 Popov A.

1 2021

1 2011

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DRAMATISING CULTURAL DIVERSITY: YOUTH THEATRE AS A PERFORMANCE OF LOCAL MEMORY AND IDENTITY IN A MULTIETHNIC ENVIRONMENT

POVEDOMIE HUNGARUS V 19. STOROČÍ