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CIPN - 4 April 2018 - Mitre or Mao Cap: Archbishop Desmond Tutu as Performer – a Prescient Activism?

CIPN - 4 April 2018 - Mitre or Mao Cap: Archbishop Desmond Tutu as Performer – a Prescient Activism?

Released Friday, 13th April 2018
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CIPN - 4 April 2018 - Mitre or Mao Cap: Archbishop Desmond Tutu as Performer – a Prescient Activism?

CIPN - 4 April 2018 - Mitre or Mao Cap: Archbishop Desmond Tutu as Performer – a Prescient Activism?

CIPN - 4 April 2018 - Mitre or Mao Cap: Archbishop Desmond Tutu as Performer – a Prescient Activism?

CIPN - 4 April 2018 - Mitre or Mao Cap: Archbishop Desmond Tutu as Performer – a Prescient Activism?

Friday, 13th April 2018
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John Allen (Former Tutu aide, Communication Director of South Africa's Truth and Reconciliation Commission, Rabble-Rouser for Peace, 2006) in conversation with Louise Blythe (BBC).South African journalist John Allen had a unique lifelong professional and personal relationship with ’the Arch’, and was intimately involved in some of the most dramatic events during the fall of apartheid in the 1980s, before being Communications Director for the Truth and Reconciliation Commission and Managing Editor of Africa’s largest news website, AllAfrica.com. Allen will discuss the aspects of Tutu’s character, attitudes and values - especially his early grasp of image-management politics - which helped him play such an effective role in the fall of apartheid in the 1980s. Tutu’s story asks what it means to publicly perform, and how media attention works as a political force - topical questions today.After excerpts of raw documentary footage from the 1980s, we will explore the thinking behind John’s authorised biography of Tutu, Rabble-Rouser for Peace (2006), and behind the screenplay based on the book, discussing medium, the media, and politics with the BBC’s Louise Blythe, who runs the training programmes which keep the BBC up to date with the skills to tell stories in the digital era - from social media to news to commissioners to platform-designers. Chaired by Clare Foster.Says Allen: 'Tutu understood the power of the press as an agent of change. He was always conscious of playing a part, whether in a pulpit, in vestments, in a Mao cap, or wearing a rich Republican green jersey in Ulster. He was "a stageprop", as he put it, helping draw attention to friends' causes’. At the same time, he understood race and identity as a public matter in which all of us are always participating, even in our most personal choices and private moments.
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Performance Network

The Cambridge Interdisciplinary Performance Network brings together people from a wide variety of disciplines in Cambridge and beyond who are engaging with performance as a concept, from music and literary studies to anthropology, architecture and medicine. It asks how these varied interests might relate, intersect and interact.Interest in performance reflects a movement away from thinking in terms of immutable objects and singular subjects. It focuses attention on collective contexts. It also models a different way to mean: so performances, theatricality, theatre, and the arts in practice are relevant, too. But the group’s main focus is on the potential of the idea of performance as an umbrella approach to culture: a 'kind of thinking in its own right' (Cull/Minors 2012).What does it mean to frame, stage, display or enact? In what sense might all forms of self-consciously public statements – art, politics, academic discourse – be seen as performance?How is our post-print digital era, with its forces of equivalence and convergence, prompting reconsideration of traditional categories and boundaries – ie of the disciplinary itself?How do we understand objects (fixed, a record) when they cannot exist separate from their experience on the part of somebody or other (time-bound, embodied)?How do we understand the subject when it depends on imagined and actual collectivities to position itself?Each session will be organized around two short but very different presentations, followed by a discussion. We hope that these discursive encounters might suggest some of the potential benefits of greater dialogue between disciplines, and between the academy and creative practice more generally.

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