As a researcher and educator in the field of performance ethnography, the question I continually ask is: what is performance doing here? This question enables me to work between action and analysis; between sustaining creative collaboration and reflecting through academic publications. As a British Academy postdoctoral fellow at Central, I am currently working in this way on a three-year project entitled ‘Home-Makers: Urban Expertise in the Filipina Diaspora’. This will result in a monograph exploring the performative ways that women domestic and care workers from the Philippines create a sense of home while living and working in London and Beirut, and the ways in which the cycle of migration shapes how returnees re-make their home in the Philippines. In completing this research, I will work with Filipina women to produce a series of urban soundwalks guiding listeners through routes and sites key to these processes.
This research builds on my wider interest in the relationships between memory and migration, and how performance works to express or intervene in these interlocking processes. My PhD was funded by a joint doctoral partnership between King’s College London and the National University of Singapore. My thesis addressed performances of cultural memory in two postcolonial and intensively migratory cities that I described as ‘ecologies of remembrance’: the Lebanese capital Beirut and the Southeast Asian city-state Singapore. Alongside this research, I co-convened Beirut: Bodies in Public in 2014, a three-day programme of performances in public spaces and conference activities at the American University of Beirut.
I have published on related topics in journals such as Performance Research, Performance Philosophy and Cinema Journal. Forthcoming publications include an essay in the Routledge Companion to Theatre and Politics (ed. Helena Grehan and Peter Eckersall) on ruins in Lebanon’s borderlands, and a book chapter for the forthcoming volume Performing Care (ed. Amanda Stuart Fisher and James Thompson) discussing a photography project involving street-connected children in Beirut who are refugees of the ongoing conflict in Syria. I am an editor of Contemporary Theatre Review’s online platform Interventions, and I co-founded the King’s English blog in 2016. I have led interviews for TheatreVoice, and from 2011-2014 I was Contributing Editor at Exeunt.
Much of my work has been collaborative. I am a founding member of the research collective After Performance, experimenting with modes of ‘transauthorship’ as a response to the changing geopolitical concerns felt by our cohort. As a laureate of the Dwight Conquergood Award from Performance Studies international (PSi), I co-founded the ‘After Dwight Conquergood: Performance and Critical Social Praxis’ PSi working group in 2016. With other convenors of the group, I am leading the devising of a collaborative syllabus on Performance and Social Action, with scholars, artists and students. I held a Visiting Scholarship at De La Salle University Manila in the Philippines in 2018 to support this work.
I grew up in Hackney, at the time London’s most ethnically diverse borough, and encountered theatre through working in stage design and object theatre in the UK and France. My training has been interdisciplinary, with a BA in Combined Arts at Durham University and an MA in Performance and Culture: Interdisciplinary Perspectives at Goldsmiths, University of London. I have lectured and taught across theatre and performance; English and comparative literature; culture and media; and Liberal Arts at the University of Warwick, King’s College London, Birkbeck College, the National University of Singapore and the University of Roehampton.
2019 (forthcoming). ‘Still Lives in Performance: Archiving displacement in contemporary Beirut’, in Performing Care ed. James Thompson and Amanda Stuart Fisher (Basingstoke: Palgrave Macmillan).
2019 (forthcoming). ‘Memory and War Museums in Lebanon’, with Craig Larkin, Nationalism and Ethnic Politics, 25.1.
2019 (forthcoming). ‘Review: Ric Knowles, Performing the Intercultural City’, Contemporary Theatre Review, 29.1.
2018 (forthcoming). ‘Stage Managing Ruins in Lebanon’s Borderlands’, in The Routledge Companion to Theatre and Politics, ed. Helena Grehan and Peter Eckersall (London and New York: Routledge).
2018 (forthcoming). Issue of Contemporary Theatre Review Interventions on transnational physical cultures, co-edited with Broderick Chow, 28.4.
2017. 'Towards Theatricality', in Stop Here for Happy Holidays ed. Karine Wehbé and Zeina Assaf (Beirut: Commissioned by Ashkal Alwan and Sharjah Biennale).
2017. Issue of Contemporary Theatre Review Interventions on collaboration, co-edited with Elyssa Livergant, 27.2.
2017. ‘Vulnerability and the Lonely Scholar’, with Felipe Cervera, Matthew Yoxall and Alvin Lim Eng Hui, Contemporary Theatre Review Interventions, 27.2.
2017. ‘Avignon Festival: On Failure and Responsibility’, Exeunt.
2017. ‘Just Women and Violence’, with Myka Abramson and Kélina Gotman, King’s English.
2016. ‘Acts of Annotation’, with Penny Newell and Merijn Royaards, Liminalities, 12.5.
2016. ‘Review: Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep’, Cinema Journal, 55.2, pp.177-82.
2016. ‘After Performance: On Transauthorship’, with Felipe Cervera, Matthew Yoxall and Alvin Lim Eng Hui, Performance Research, 21.5.
2015. ‘Siting Performance Philosophy: Positions, encounters and reflections at Beirut: Bodies in Public’, with Eliesh S.D., Performance Philosophy, 1.1, pp.255-64.
2015. ‘Postcards from Mindanao: Wayfaring and displacement in archipelagic space’, PSi#21 Fluid States: Performances of UnKnowing LOG.
2014. ‘Storied Space: Epistemology and place in the performance museum’, Platform: Journal of Theatre and Performing Arts, 8.1, pp.15-28.
2014. ‘10 ways to make public engagement work for you’, with Penny Newell, Guardian Higher Education Network Blog.
I co-founded the research collective After Performance in Singapore in 2015, and have worked with members Felipe Cervera, Alvin Lim Eng Hui and Matthew Yoxall on a series of ‘transauthorship’ writing experiments, resulting in publications for Performance Research (2016) and Contemporary Theatre Review Interventions (2017), and international workshops in London, Melbourne, Hamburg and Manila. Working across geo-cultural intersections (and time zones), we have sustained close collaboration as a form of concerted response to the political concerns faced by our cohort of scholars and practitioners, and as a way of rethinking the conventions of individual authorship in a field that studies fundamentally co-creative practices.
I have worked closely with artists in different parts of the world as a facilitator, curator and critic. I co-convened Beirut: Bodies in Public in 2014 with Eliesh S.D. (founder of the Lebanese Organisation du Développement Durable), which coordinated over sixty participants in a three-day programme of performances in public spaces in Beirut, alongside conference activities at the American University of Beirut. With its artist-in-residence, Dima el Mabsout, I went on to develop Fleeing and Forgetting, which she devised in 2015 as a response to the influx of over a million Syrian refugees into Lebanon.
I have also brought practitioners and academics together through the ‘After Dwight Conquergood: Performance and Critical Social Praxis’ working group, whose major activity to date has involved devising a collaborative syllabus on Performance and Social Action with artists, scholars and students in the Philippines. This syllabus is designed to be contemporary and directly relevant to the Philippine context, but will also be transported and actively modified in other parts of the world, as a living and customisable tool for dialogic pedagogy.
As a theatre critic, I have published extensively with Exeunt and led interviews for TheatreVoice. Seeking to bring my engagement with arts practice into dialogue with scholarship, I co-founded Research with Reach in 2014 with Penny Newell at King’s College London, a training initiative that coordinated four intensive workshops and a conference with speakers including Peter Florence MBE (Hay Festival), Dr Jules Evans (BBC New Generation Thinker) and Nick Bradshaw (Sight and Sound).
Nothing to declare.