In this essay, I argue that, in a society oversaturated with images and narratives of racial
trauma, creating theatre for social change requires more than staging minoritarian bodies …

Remembering Mass Violence breaks new ground in oral history, new media, and
performance studies by exploring what is at stake when we attempt to represent war …

For several years now, I have been involved in a number of research projects that have
employed, either in part or in full, an oral history approach to the sharing of personal stories …

Performance and play with our material world are ubiquitous to the human experience. This
chapter explores how matter is made sacred, giving theopoetic witness to and transfiguring …

In 1995, I began working with Fred Rochlin, a man who became a performance artist at the
age of seventy-four by telling stories about his World War II experiences. I was teaching a …

Like so many of my generation and earlier, my introduction to what is now known as
''performance studies''was through ''oral interpretation.''But oral interpretation was not a new …

Setting: 2010 Congress of the Social Sciences and Humanities of Canada, Montreal,
Quebec. The conductor, Nisha Sajnani, is standing and addresses an audience of sixteen …

As oral historians, we devote a great deal of time to painstakingly designing our projects,
cognizant of the fact that our research requires us to interact with human beings in often …

When hundreds of people displaced by mass violence volunteered to tell their stories to the
Montreal Life Stories project, they challenged long-held beliefs about how oral stories …

Within the historical context of African culture, Houston Baker and Charlotte Pierce-Baker
point out that “the patchwork quilt... opens a fascinating interpretive window on vernacular …