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Shonagh Hill explores the range of feminisms evident in the work of Belfast choreographer and dancer Oona Doherty, whose practice engages with intersectional feminisms in the aftermath of the ‘Troubles’ in Northern Ireland. Speaking of making work in a post-conflict culture, Doherty comments that ‘I think a whole generation of people here [in Belfast] are holding an era in their bones, in muscle memory, in tissue’.
In a special issue on theatre during COVID-19, Richard Huddleson discusses the fate of Aisling Ghéar, an Irish-language theatre based in Belfast, and their production Go mBeire Muid Beo (May We Be Alive [to See Each Other Again]). The essay considers the difficulties of securing funding for minority-language theatres but points to the comfort of accessing culture through familiar languages, and the benefits to public health and community resilience.
Charlotte McIvor’s essay investigates the relationship of migration, performance, and intercultural dialogue in the context of the EU social policy in the late 2010s, which supported the role of the arts in social and cultural transformation. This essay takes three theatre companies, one each from Belgium, Northern Ireland, and the Republic of Ireland, who work at the intersection of professional and community/participatory performance practice, working with both minority and majority ethnic collaborators, although with an emphasis on minority ethnic perspectives in the work they make. Significantly, their work, while rooted in the EU, resonates with emerging and innovative intercultural theatre practices around the world.
Authored by a multidisciplinary team made up of a theatre academic (Pine), a public historian (Casserly) and a composer (Lane), this essay considers the ethical possibilities of exploring place and listening. It takes as its primary material two audio performances, one in Dublin and on in Yafa (now part of Tel Aviv), that conceive of the city as a palimpsest that echoes through time.