Indigeneity in the Contemporary World: Performance, Politics, Belonging

1. Indigeneity in the Contemporary World: Performance, Politics, Belonging Helen Gilbert

2. PROJECT SUMMARY Contemporary indigenous performance in Australia, the Americas, the Pacific and South Africa Theatre, film, dance, music, pageants, protests, festivals Interdisciplinary – theatre and performance studies, film, literature, anthropology, history, musicology, cultural studies €2.36m ERC grant over 5 years 2009–2014 8 main project staff plus casuals

3. THINKING BIGGER • Scale • Scope • Depth • Discipline • Methodology • People • Activities • Extras • Resources • Risks

4. COMMODITY AND SPECTACLE Sydney 2000 Olympic Opening Ceremonies Vancouver 2010 Olympic Opening Ceremonies Marrugeku performing Mimi (Festival of Perth, 1997)

5. RECONCILIATION AND SOCIAL COHESION Santiago, Chile, 2012: Mapuche protest against police repression, social and economic marginalization and land-grabs by multinational logging companies

6. HERITAGE AND MATERIAL CULTURE Barrydale, South Africa: community workshops with Handspring Puppet Company, 2011 The Edward Curtis Project, Marie Clements and Rita Leistner, 2010, Vancouver

7. MOBILITY AND BELONGING Idle No More movement, Canada 2012–3

8. PROJECT OUTPUTS • PI and Researchers • monographs, edited books, journal issue(s), essays, interviews, conference papers • Project Team • educational DVD • Performance-based exhibition • 3 one-day workshops • 3 two-day symposia • 1 major conference • Interviews with performance makers, video clips, blogs

9. PROJECT ORGANISATION: STAFF Principal Investigator Principal Research Associate 4 other Research Associates/PhD students Project Assistant Casual Staff Visiting Fellows Overseas RAs, translators

10. EARLY CAREER RESEARCHERS • Indigenous Performance and Festival Cultures in Europe • Indigeneity, Performance and Social Justice in Latin America • Contemporary Indigenous Cinema in National & Global Contexts • Indigenous Performance in Francophone Postcolonial Societies • Indigeneity in the ‘New’ South Africa • One Open Project

11. Individual Researchers/Projects Indigenous Performance in Festivals in France and Britain Mobilising Ritual and Celebrating the Seeds of Mayan Culture in the Yucatan and Belize Indigeneity and Performance in Social Protest and Festivals in Ecuador and Peru Authorship, Aesthetics and Political Action in Latin American Indigenous Film and Video Indigeneity in post-TRC South African musical theatre (PhD student) Indigenous Music Performance and the Aesthetics of Reconciliation in Canada Mini-projects: London-based Pacific Performance Group, NgatiRanana Performing Themselves: Saskatchewan First Nations Youth Identities Indigenous Shakespeares

12. ON BALANCE The Best Parts • the ideas/dialogues • the people • the resources • the negotiating power • project design flexibility • travel The Worst Parts • the people • the UKBA • death by admin • bureaucracy • systems inflexibility • email

14. ON BALANCE The Essentials • planning • recruitment • management skills • institutional support • teaching relief • holidays/time out

15. OPPORTUNITIES • more funding (Proof of Concept Scheme €150k) • public engagement • international linkages • publicity • career

16. Performance-based Exhibition EcoCentrix: Indigenous Arts, Sustainable Acts Bargehouse, Southbank, 24 October – 9 November 2013

17. Copper Promises – with Origins Victoria Hunt (Australia/NZ): Copper Promises – the story of Hinemihi told through dance. Video and/or live excerpts will be presented at Bargehouse. The entire dance performance is expected to be part of the Origins Festival of First Nations. Possibly a performance of Day of Invigilation (right) in the Bargehouse. Hinemihi, Clarendon Park, UK

18. ESSENTIALS FOR A WINNING PROPOSAL • Outstanding track record presented in cogent, convincing terms, and backed up with evidence • Lucid and significant overarching research question - establish that the research is urgent/timely/original • Some kind of empirical element where a clearly identified body of data needs collecting and analyzing • Interpretive sub-questions about that data • Substantial research outputs/outcomes, (interpretation of data collected) • Feasible plan that offers value for money (builds European research capacity) • Clearly communicated commitment and competence • All major elements fit within remit of ERC funding programme

19. BASICS • clear and absolutely precise language a must • avoid convoluted syntax (will a non-native speaker be able to read with ease?) • sensible layout – headings and subheadings, lots of whitespace • edit ferociously to get rid of wordiness and maximize space for content • give clear indication of outputs (don’t promise the world) • different sections of proposal must speak to each other (with no contradictions) • finish at least 3 weeks before deadline to get useful feedback

20. ARTS RESEARCHERS CAN DO IT • Analytical skills to interpret brief • Interesting histories to pitch themselves • Argumentation – convince of importance • Creative skills to design the research • People management skills • Resources: creativity of stakeholders • Difference/interest factor • Proof of Concept grant: impact/commercialisation • €150k for interactive version of live exhibition and two artists residencies, plus admin and videography

22. Indigeneity in the Contemporary World: Performance, Politics, Belonging www.indigeneity.net