Dossier—Negotiating Urban Spaces: Access, Care and Confinement in Contemporary Gendered Performance

• Published in: Theatre research international 2024-03, Vol.49 (1), p.89-94
• Main Authors: JAIN, INDU, BANERJEE, TRINA NILEENA
• Format: Article
• Language: English
• Subjects: Activists; Citizenship; Dossier; Feminism; Migrants; Oppression; Pandemics; Political activism; Public spaces; Self concept; Social reproduction; Theater; Women
• ISSN: 0307-8833; 1474-0672
• DOI: 10.1017/S030788332300038X

This dossier explores the ways in which theatre and performance practitioners across the globe have addressed the deeply gendered modes of differential access to public spaces, institutional support, and resources through their creative as well as activist work, during the pandemic and its aftermath. In the last three years, the pandemic has transformed experiences of urban space globally. Access to public space has always been gendered as well as shaped by geographical location, race, caste, class and sexual identity. These traditional modes of differential access have been radically reorganized by the isolation and uncertainty engendered by the global pandemic. While ‘working from home’ was certainly not an option for everyone (most notably, care-workers in an overwhelmingly feminized profession), confinement to domestic space also meant escalating incidents of gendered violence for others. Additionally, the lack of sustainable income opportunities meant, as contributions to this dossier will demonstrate, the stripping away of roofs from over the heads of vulnerable citizens, whether impoverished artistes in want of state support or migrant workers on an uncertain daily wage. Staying at home was no longer an option, because ‘home’ often ceased to exist as a viable shelter, whether literally or by implication. For performers and theatre-workers all over the world, it was a time of intensified precarity: not only a loss of employment and income, but also a growing sense of artistic and professional purposelessness. While some were able to reorient this bewilderment through virtual and digital performances, for many grassroots performers, especially in the global South, access to these modes of public engagement were limited. In countries like India, street theatre activists felt unable and unwilling to switch to the digital space, while the prohibition on public assembly struck an irrevocable blow to women's protest movements.