Monthly Archives: March 2015

precis for Politics of Memory




There are two different kinds of memory, communicative memory and cultural memory. Communicative memory is a memory which is shared. It is a memory and experience shared between two or more people, usually a generation within itself. A cultural memory is defined as a memory that is personal, and passed down to forthcoming generations in the family. Post memory- This is the memory of those that weren’t at the event themselves and therefore didn’t go through the experience but feel as though they did due to the families passing the memory on to them. The memory of the event is passed down to the next generation who then have two options. One, they can either follow through the experience shared, meaning they take it on as their own experience. The slave trade can be taken as an example, some members of the black community have a negative attitude to some of the members of the white community, because of how their ancestors were treated, still there were some who embrace their identity, have knowledge of their culture and are able to forget the experience to their ancestors. A similar example can be of the holocaust, an event in which many Jews, and those from other cultures were killed, and very little survived. (Hirsch herself being a second generation survivor) Families have an important role in post memory context. It is the families that pass on their memories, traditions and experiences to the next generation. However these experiences are at risk of taking over the lives of the new generation and allowing their experiences to control their lives, changing and shaping their own personal experiences. There are some advantages and disadvantages to this. Some cultures are based on stories that are passed down and these experiences become a part of the culture. In addition, the saying “you had to be there” applies here. There’s a very huge difference between being there and simply being told. They are completely two different things It is also known that post memory brings about imagination and creativity. This is because when the stones are being recalled one can only imagine what it was like because they were not there themselves. This means the imagination and projection has to be used to create the imagery of the event in our minds. Even sometimes it does exaggerate particular parts. Photography also plays a main part in post memory. This form of technology produces evidence allowing the memory to be even more believable. Photography allows us the opportunity to see the past and sometimes bring it to life again. Even if we feel close to these memories as they were close to the generation before us does that give us the right to claim these memories as our own? Can they be adoptable into our own life stories?

Bodies of Evidence

“Contemporary documentary theatre represents a struggle to shape and remember the most transitory history.”

Theatre can be used for the performance of these events which gives us the opportunity to discuss this event and the talking about it may make people feel uncomfortable that surround it, as simply masking the issue with a performance also allows documentary theatre to cross over into the boundaries of history. Documentary theatre interrogates specific events that occur in society and presents us with the opportunity to change history as we know it. Technology plays an important role in documentary theatre and is a very easy as well as simple way to transmit knowledge. In documentary theatre, technology and postmodern things meets oral theatre culture with the hopes of mixing them together to retell what happened. The actors that are portrayed are often no longer around “absent, unavailable dead or disappeared”. They are represented through technology or other actors. Documentary theatre finds a whole new world in stories that surround a particular part of history and tries to change the history a little bit. There is this element of correction and fixing of the broken pieces of what we’ve been taught. All the details in documentary theatre are important. The archives, selection, editing, organisation are chosen for a specific persuasive reason or purpose. It is important to establish that nothing is overlooked. The process to creating a performance in this type of theatre is as follows, there is the behaviour, archived records of behaviour and the representation of behaviour as a public performance. Documentary theatre can also be seen to be similar with the ideas of Richard Schechner’s ideas and discoveries: 1) Restored this is the idea that the future creates the past. People act accordingly to ensure the future is what we want it to be. In d theatre, the piece is constructed in a way to ensure a particular type of feeling and emotion at the end. All the pieces are usually of events that have happened in the past. 2) The “not” and the not – the actors are both playing themselves and the people they represent. So they “not” playing themselves but they are “not not” playing themselves. 3). Twice behaved behaviour- so in cases the actors would have to behave the already “behaved”. There are 6 main functions of documentary theatre 1) to retry trials in order to critique justice. 2) to create more historical events. 3) to critique the operations of both documentary and fiction. 4) to intertwine an autobiography with history . 5) to reconstruct a historical event or account. 6) to briefly describe the oral culture of theatre.


Performance is ephemeral. It doesn’t last very long as it is short lived and transitory. Different cultures have different ways of saving theatre and performance. To some more extreme, than others they are saved nonetheless, and the archive is created as a way to preserve and save these performance. Archives are however a very esteem way of thinking .That is interconnected with power dominance strength and control. In many cultures, oral stories are passed on from generation to generation to keep the culture alive It is very hard to follow the ideas of these archives as we can be seen to be buying into the idea that it is the only way to save a performance, but it is not. Archives in this way overshadow the memory and other methods used to save a performance. This is simply because people look to the archives to tell them their own memory. They have faith in what they remember and the archives to be correct. But there are other ways. An example would be oral stories. We all felt a certain way and the way we felt simply a response to the feeling the teller was conveying. For each was person this was different, however this is an experience one cannot gain from an archive. The class experienced the performance together which was magical but we all saw a different performance due to our subjective minds, making the experiences slightly more personal. So what happens if the body itself becomes an archive? Dances or strict practices of performance that more or less remain the same t history such as ballet, in ballet there is compromise. Either you are doing it correctly or not, because the principles no don’t change. Can this be considered an archive? What about performance? Can performance itself be archive? Why not! Watching a performance and constructing a performance on top of it from memory allows the performance to be an archive and a memory. It is not the performance itself but simply a representation of it. This can be inconsistent and incomplete, but one could that an archive shares the same traits as archives can be edited and argue changed.

Representative of Memory, Performance and Archive

Four groups were involved in this. Every group was given the opportunity to share their groups work, it was very interesting to see how the groups we did see interpret the tasks differently. Yet we all saw the same kinds of things into their work. Group One went forward and took a creative and standout approach. They used their peer and adding a comedic element which brought the piece to life. As the two gentlemen in the performance danced gleefully (representing the performance two of the females within the group recorded the dance using their phones and imitated the performance representing the archive) and the last female of the group sat and watched, enjoying both of the performances being played out front of her (representing the memory). The two females that recorded the original dance piece used the recording to copy the gentlemen, and almost tried to get the moves exactly correct which they were not able to do. This was in good representation and well analysis of the three as it showed how the process works. This bring out how archives work, as archives as argued by theorists do not always capture the complete essence many the performance, which we were able to see firsthand as an audience. Group Two however took a more non fictional direct approach one of the performers walked into the performance space and did a series of moves that were normal and consistent. When this was happening, the only gentlemen in the group recorded the movement while looking away. Another female simply watched the movement and the last female drew each of the movements conducted. After the initial performance was complete, the three recording the piece went into the performance space and it was their ob to repeat what the initial performer performed. The group member drawing and the group member using memory completed the movements, but weren’t precise. The recording failed and therefore the gentleman was unable to conduct the movement. Again this shows how archives work. The recording failed, showing how archives can sometimes be unreliable. The memory was changed to suit the reference of the performer. One could argue this would be the same as considering memory to be unreliable because it can be changed or altered like Chinese whispers. Finally the drawing was unable to catch the moment precisely as it went by so quickly, showing how quickly a moment can go within a performance and not even an archive can capture it. It was easy to understand all of these concepts after the readings and presentations; however the performances put these ideas into perspective and showed the pros and cons of each. As stated previously, all the groups were not able to show their interpretations so until next time.

Caroline Golder and GAC

What is a activist demonstrative group called particularly in South America, who use their art in the protests to make it more effective, in order to make a change in the society………… Carolina Golder one of the main activists a part of the project joined us in Politics of Performance and Memory class on the 6th of October 2014. Carolina Golder was in the country for the Disobedient acts exhibition taking place in the V&A (which will go and see). Carolina Golder is a member of the GAC group in Argentina, a group that uses art to get the attention those in Argentina who are unaware of the issues going on in the country. “Alert, alert, alert to the neighbours there’s an assassin living next to you.”,“Si no hay justicia, hay escraches.” – These were the messages being painted on walls handed out on are only two exam pamphlets, being pinned up on signs and walls and being shouted all in the streets of Buenos Aires. We only had a little amount of time in the class but she gave us quite a lot of information about the movements she was a part of and the impact that had on the society in Argentina. The invasion project took place between 1976 and 1983. There were three main symbols that were being stuck to lampposts, buildings, floors, sign posts and wherever else that had had a second flat surface. The first was a bomb, which represented the economic organisations that were the missiles which represented journalism and thirdly there was to soldiers which represented the security. As seen in a video on YouTube, one of their acts of protest was to group climbing to a high building and dropping toy soldiers with parachutes to the floor in broad daylight. Hundreds of those things were being dropped onto people and cars. People began reaching for the toy soldiers from their office windows, cars stopped to get a few off of their windshields as well as people of the streets grabbing handfuls. Carolina Golder stated that these people were not her friends or enemies and that their grabbing for the toy soldiers was a very childish act. She also told us that their relationship with the police was based on negotiation, her defence being -it’s just art. Additionally she informed the group that Buenos Aries is polluted by advertisement so these protests were easy construct without being too much of an intervention. It was great to have such a demonstrative and intelligent artist who had influence on the people joined us and I hope to keep up to date with her influential work.


Politics of Memory – Bethnal Green songs and other research

Below is a link to the website where I got the songs for our performance:

These are two links to research I did in regard to what happened that night in Bethnal Green:

Politics of Memory – Groupwork for Bethnal Green

Olivia and I went on YouTube, and found and chose all the soundtracks and backing music for our piece. Then Shakira, the other group member, just put them into the order that I wanted them and emailed them to me.

I met up with a student producer on Friday 13th March 2015. Together we set up the music that is going to be used as a backing track for the piece, putting it in the right order.

Olivia and I are doing the stage tech run today (Wednesday 18th March). Andre, a group member from my drama group, has kindly agreed to do the technical support needed for the day of the performance as Jay the technical advisor is not available on that day.

Olivia and I created the Powerpoint together. I used all the research I obtained from the Bethnal Green archives. I did all the research for that part alone. Olivia and Vicky read through some of the newspaper reports I obtained and suggested what could be included.

I was asked by the tutor, Eve, on Monday 16th March to include Mary in our group as she didn’t have a group already. I had to create a new character within the group so she could take this assessment. I used the Bethnal Green interviews. When I went home Monday night, I looked at all the characters within the group and linked the characters with extracts from the interview transcripts using colour coding to identify which character the extract related to. When we come to perform it, we can look at the interview transcripts like a play script so we know when we need to come in.

The next day I gave the other students the interview transcripts and the words to the song that we are going to sing – I’ve got a lovely bunch of coconuts.

We still have to produce one liners that fit into the time of World War II but this is an ongoing process.

First possible one liner:

Question: You know what?

Response: No

Answer: You’re barmy!

I went to visit Jay for a tech rehearsal for my other module – Applied Children’s Theatre. I had a brief discussion asking him about what I could do for the Bethnal Green performance because I wanted to create the atmosphere of being in a dark tunnel.

Previously on my HNC course, I did a course where we used torches to produce the atmosphere of being in a tunnel. I wasn’t sure if we would be able to do this again. I asked Jay for some suggestions and he suggested using torches, so I decided to go with this idea. I’ve asked the group to bring in one torch for themselves and one for an audience member so the audience can participate and light up the actors.

We are also going to use props. Through the research and photos I got from the archives, it showed that slapstick comedy was popular during that time. Men dressed up as women using aprons and balloons, and tea towels on their heads as scarves. They used to do this type of slapstick comedy to keep people’s spirits high and bring out community spirit. Going into the shelters at night was a regular occurence, and scary and unsettling for most people. I thought it was very important, as the main idea of the piece is to show community spirit and the emotional content which is the main body of the whole piece, to show how emotions can be developed through theatre. I wanted to show the devastation of the bombings and how sadness showed through the stories of the survivors and what happened to show the survivors respect through story telling.

Olivia and I researched on the internet. We found newspaper clippings about March 1943, reports of the disaster which were published afterwards. We are yet to copy that off and will make the paper old by dying it with teabags to get the effect. We are also going to make a sandwich board advertising what happened on that disasterous night. Also the actor, Olivia, will be giving out newspapers to the audience as they would have done in those days.

The props we are using are balloons, aprons, torches, a tray, cakes, army uniforms and hat, policeman’s whistle and hat, newspapers and sandwich board.

Politics of Memory and Performance – Group meeting about performance

These are notes which show development within the piece.

Monday march2

This assessment is about practice as research and about staging the research. Its not about working creatively but working creatively in the archival research

Documentation= Its about how to demonstrate the research and how to use the projections, audio and soundtracks in it.

  1. Focus on actual storytelling
  2. Create a performance in a way to tell the story
  3. End of the hour the structure should be ready
  4. Focus on the quality and not the quantity
  5. Be specific


  1. Find airway signal sounds
  2. To go into the shelter in the Bethanal Green
  3. After going down the stairs, we will find a lady in the shop
  4. Newspaper for the World War 2( news bulletin after the disaster)
  5. Will hand out the newspaper to the people for engaging the audience more
  6. Ballons and apron as the costume, will include couple of songs. And there will be singing and movements like old times
  7. We will bring in that how do we get out of the shelter
  8. Panicing and screaming and echo sound effects can be used

To do list

  • Find the pictures of the body and if we dont we can use the pictures of the bodies which are covered
  • Lighting – it has to be like the underground station and it can be reflected on the black curtains and can add the element of sound there in the performance.
  • Act for 3 mins stop and then talk about it, this will show that a lot of research is done
  • Interlinking the powerpoint and the archives can add a bit sarcastic jokes like ‘a lovely war’
  • All the things which reflect the situation at that time should be added in the performance


  1. Billie holiday- I’ll be seeing you again
  2. Vera Lynn- We’ll meet again
  3. Vera Lynn- Land of hope and glory
  4. Its a long way to tipperary/ pack up your troubles in your old kit bag- Robert Mandell
  5. I got a lovely bunch of coconuts
  6. Sound effects- WW1 or WW2
  7. Intense crowd panic/shooting/ scary sirens

Monday march 9


Stage direction- Its always from the point of view of the person standing on the stage

  1. Front light– Also called as general cover( basic light)
  2. Back light– It is a bit more dramatic. It gives a 3 dimensional effect. It makes the stage feel bigger.

The back light looses the blue black light if the front light is added to it.

So the actor stands on the blue light and is in the yellow front light

Every time the light reflects, it loses something

  1. Side lights– It is good for lighting shapes, it picks up all the lines and features on the body.

It is in 3 levels-

  • Shins – If the performer is lying on the floor
  • Mid- It is between the neck and hips. It is for someone walking on the stage from behind. This side lights are for more physical theater.
  • Heads- From shoulders upwards . This type is for individual lighting
  1. High side light (from both sides)- It brings more emotions out with the help of lighting.
  • Light colours are very good at reflecting the light. Also depends on the colours of the costume
  • Use colours matching the clothes, than they will stand out.
  • If there are two performers acting , both should not stand in a same line with the light , because than the other one will get in the shadow. Just change the line position.
  • If designed well, the shadows can be turned into performers. Using the lighting , the essence of non-real things can be brought in the performance.
  1. High upper lights

For highlighting the performance if necessary.

Stage directions are not factual.

  1. Spot light– Light come in a cone. So depending on the height of the actor, the standing position should be managed ( where to stand in the circle). Also a spot light evokes a 100 different things, emotions or feels in them. So think very carefully when to use the spot light. It is also use to emotionally manipulate the audience.
  • If you are blind , you are not lid.
  • You should be blind on the stage all the time.
  1. Flood light (beautiful spot light)- It is like a God light for a warm glow. It is behind at the back in the center.
  2. Green front light– They are two moving lights in the opposite sides used to feature something incoming on the stage.

One has to be careful with the skin colour of the actor. For the neutral effect, use black. Different colours change the colour of the shadow because of the reflection.

  1. Go Bo’s– Lights with interactive movements. There are different sizes for these differently moving lights.

Audio recorder

The audio recorder has 4 microphones on it.

  1. Speaker on/off- To listen the recorded things.
  2. Input ( xlr, uni, omni, line)

Uni- 2 Microphones on top

Omni – If its lying on the table to record(as hidden when someone is nervous about a microphone.

  1. Mike gain (button on back)- If the is a problem in recording, just increase it. Use medium level. Maximum level should be around zero.

If the record button is pressed, it will blink and make a noise and the numbers will change,

Garage band can be used for editing the recorded stuff.

Cultural Entrepreneurship – Powerpoint presentation on stage managment

This is the PowerPoint presentation that we had to do in our Cultural Entrepreneurship class.

Stage Management

The following information is evidence of comparison between a performance that I did at Barking and Dagenham College and experiences of the technical difficulties that we had on that day within stage management.

Fashion Show Event Proposal

Chanel hand picture

Theatre Team
Contents Page

• Auditorium Layout Proposals
• Proposed Running Order
• Rohingya Summary
• Rohingya Script
• Ala Kachuu Summary
• Ala Kachuu Example Photos

Stateless Rohingya Set Piece
Plot Summary
Set in the Arakan region of Burma the story follows the journey of Afsana a young Rohingyan girl terrorized when she witnesses soldiers of the regime violently assaulting her friend. She escapes back to her home and we see three generations of women from her family; Afsana, her mother & grandmother preparing to flee the country in fear of their lives. They try to buy safe passage to Pakistan through a trafficker, but do not have enough money for the whole family. The pressure on the Rohingyans escalates as the soldiers go from village to village asking for identity papers. Afsana’s grandmother cannot find her papers and is arrested. The daughter embarks on a treacherous boat journey out of Burma without knowing if she will see her family again.
Performance Genre
As the subject is sensitive we have created a short piece of theatre using verbatim theatre techniques using real testimony from Rohyngyans to develop the story. We intercut the personal story of Afsana with news reportage style of delivery giving facts about the situation of the Rohyngyans. We have taken real life testimony and edited it into our piece so that we can hopefully get the facts across without the piece being over sentimentalised.
• We would like to create an intense atmosphere so that the audience can get an understanding of how devastating the situation in Burma is .We are attempting to briefly transport the audience into the lives of these people so they can have an insight into the plight of the Burmese Rohingyans.
• Although the piece is very intense and devastating we would like the audience to experience a sense of hope as these people fight for their freedom through Afsana’s story.
Physically we will employ stillness and inject intensity through spoken voice at microphones recreating the effect of a live radio drama. Imagery will be projected from the Restless Beings picture catalogue combined with specific phrases from our vocal delivery to reinforce the message.

The piece will last for approximately 15 minutes

Rohingya Displaced
Scene 1
Abdullah speaks Shaykh Sa’di poem in Arabic and Ami speaks it in English whiles words of the poem are projected onto screen. Burmese called to prayer is being played underneath. SFX of white noise into news report.
Abdullah Agar yak ozwe badan bashad dar dard
Ami Adam’s sons are body limbs, to say;
Abdullah Tamame bandan dard ra eshsaas mekonad
Ami For they’re created of the same clay.
Abdullah Agar Yak Adamee Bashad Dar Dard
Ami Should one organ be troubled by pain,
Abdullah Tu ham bayad ghamgeen bashee
Ami Others would suffer severe strain.
Abdullah Agar Ghamgeen Nashawee pas
Ami Thou, careless of people’s suffering,
Abdullah khod ra adamee feker Makon
Ami Deserve not the name, human being
Newsreader Muslim groups worldwide are increasing pressure on the Burmese government to stop human rights atrocities committed against ethnic Rohingya Muslims. The plight of the technically stateless group in Burma’s western Rakhine state has long been a concern of the global Muslim community. But attention has intensified in recent weeks after longstanding tensions erupted between the Rohingya and ethnic Rakhine Buddhists, leaving dozens dead and tens of thousands displaced.
The words tens of thousands displaced appear on screen.
Scene 2
In the streets of Arakan
SAMIRA Salaam sister
AFSANA Salaam Sameera
SAMIRA How is Aunty and your grandmother?
AFSANA It’s hard you know, they fear for their lives every single day…
NEWSREADER Rohingyas in Bangladesh Rights Groups warn that more Rohingyas may try to flee Burma into Bangladesh. “The people are desperate,” Mr Robertson says. “They have no other choice and very few options. They feel that they need to flee for their lives”
SOLDIER 1 Ahh, what have we here?
SAMIRA (Flattered) Hello.
AFSANA Let’s go Samira Mum will be waiting for the fish, it’s almost supper time.
SOLDIER 2 Oh Samira, what a beautiful name masha’allah, where are you from?
SAMIRA We are Rohingyan’s, I see you are too, your Arabic is very good Alhamdulillah
SOLDIER 1 & 2 Laughs
SOLDIER 2 Thank you. And what is your name?
SOLDIER 2 Afsana. You look very tired, let us escort you home. Your mother will not want you to miss prayer.
AFSANA No, No we are fine honestly, please Samira let’s go.
NEWSREADER Burma’s military regime has used violence as a tool of repression against the civilian population and particularly ethnic minorities. The state armed forces continue to be the main perpetrators of human rights violations.
SOLDIER 1 How about you Samira, It would be our honour to take you home safely. The streets are dangerous for us Rohingyan’s.
SAMIRA Alhamdulillah, thank you I would be most grateful…but….we..
AFSANA (forcefully)!Let’s go now, I mean it!
SOLDIER 1 Hey, Samira! Look! (Slaps Afsana across the face sound FX)
Afsana falls to the floor due to the slap, quickly gets up and runs away, with both soldiers attentions on getting Samira into their van.
SAMIRA (shouting) Afsana, help me….Afsana! Please….no…please….
AFSANA (out of breath, running away) I’m sorry, I’m so sorry…Samira, forgive me….
In the van with Samira tied up
SOLDIER 1 Stupid khuti (Laughs). Now we have finished with you, you are free to go.
SOLDIER 2 What! (slap noise) Where do you live?
SAMEERA (hesitant, crying) in the… Arakan district
SOLDIER 1 Get dressed, Rohyngya. Take us there.
SOLDIER 1 Take us there…….

Newsreader: In a village near the town of Maungdaw, security forces pursued and opened fire on two dozen Rohingya villagers who had been hiding from the violence in fields and forest areas. The total killed or wounded is unknown, but one survivor told Human Rights Watch that out of a group of eight young men who were fleeing, only two managed to escape unharmed after the security forces fired on them.

Scene 3
Panicking and rushing around
Mother Find anything and take everything you can
Grandmother This is all I have
Afsana Ya Allah Mujhe banchale, Ae Khunda Rehem Kay
Grandmother I have my wedding ring
Mother No, Ami, No!
Grandmother Yes, This might be our only hope
Afsana But Oumi it’s your wedding ring
Grandmother Take it
Afsana But
Grandmother Take it!
Mother What else have you found?
Afsana I’ve got Madar Kalan’s necklace?
Mother That’s been in the family for generations
Grandmother Just get it!
Mother Get the money from the cooking pot; we’ll have to use our life savings
Grandmother It still won’t be enough, I know it
Afsana Ya Allah, Ya Allah
Grandmother We must stay calm, stick together
Afsana Ya Allah, Mujhe banchale, Ae Khunda Rehem Kay
Grandmother We’ll be alright if we stick together, come on…..
Afsana Ya Allah, Mujhe banchale, Ae Khunda Rehem Kay (voice fades out)
Scene 4
Soldiers walk into a Rohingya village apparently to check ID’s, but the actually plan is to burn their houses and kill them all .
SOLDIER 1 Ok everyone I need to see your ID’s …….Oy Saali don’t run…come here , don’t try to be clever with me.
Rohingya boy: I need to go home, my mother is alone, please let me go…
SOLDIER 2 Abhe Saali don’t worry about your mother we will take care of you…………we will take care of everyone here.
SOLDIER 1 Let’s sort them out house by house.
SOLDIER 2 (speaks quietly with other soldiers and says burn the houses and leave)
Saalo ka ghar Jalado aor Niklo yaha se
Mother Let me do all the talking. Are you Jubairi.
JUBAIRI Yes I am Jubairi. Do you have the money?
Mother Yes.
JUBAIRI Where you followed?
Mother No! I don’t think so…
JUBAIRI You don’t think so?! I’m going…
Mother No, wait I… I wasn’t followed.
Jubairi I’m risking my life here
Mother I know, I know.
Jubairi You know the price?
Mother Yes.
Jubairi I must warn you, there is no guarantee that you will make it across the border alive.
Mother We know the risk
JUBAIRI 10,000 people have tried to escape to Bangladesh and only 40% survived,
Mother I know.
Jubairi You have the 6000
Mother 6.000? I only have 2
JUBAIRI For 2,000. I can only take 1.
Mother please! You must take all of us!
Afsana Omi (crying) I won’t go without you and Oumi!
Grandmother Please son! We have no other choice; the soldiers are coming for us.
Jubairi It’s 6,000.
Mother We don’t have any more money!
JUBAIRI Appu! I can’t I can’t take you all! It’s a dangerous business the journey takes 10-12 days’ with no food or water. So Oumi at your age you might not make it. No offence…. Come to see me next month when you’ve got the money.
Mother We might not be alive by then!
JUBAIRI There is nothing else I can offer you. You don’t have enough money so I can’t take you. Now I’m a busy man so….
Mother You must take my daughter now before the patrol soldiers find us.
Afsana No Ami, I won’t go.
Mother You must.
JUBAIRI It’s rare for a girl to go on the journey alone. Are you sure? It would be a waste of your money; she has a 20% chance of making it to the next boat?!
Mother She must go she is not safe here!
Afsana Don’t make me go without you. I’m scared, Ami & Oumi you must come!
JUBAIRI If you are coming you must come now. Jaldi, get in the boat we don’t have much time. From here I will take her to a ship out at sea.
Mother Please take my mother, I’ve got this ring, its worth a lot of money!?
JUBAIRI No we must go now! She might get stuck at the border, give me the ring and I will make sure she gets into Pakistan, safe.
Mother Please find it in your heart to take my mother, she’s old (Begging)
JUBAIRI There is no space! It’s not worth my time! I am saving you the money, you should be grateful.
Sound of footsteps and soldiers
JUBAIRI Footsteps you were followed here! Get in the boat Jaldi, let’s go. NOW!
Afsana Ami, Ami….(CRYING)
Mother Go, we will meet you in Pakistani, soon. Inshallah.
Grandmother Safe journey my daughter.
JUBAIRI Sshh! Keep quite!
Grandmother Khu Da Ha Fiz. (Sound of water as boat rows away)

Scene 6
Knocking at door / banging
*audio noise of door knocking*
Grandmother Ya Allah, Ya Allah be charde
Mother Quickly, hide
*Audio noise banging*
Soldier 1 (aggressively) open the door
Mother Go out the glue door
Grandmother goes, door gets knocked down, soldiers ask for Identification papers.
Soldier 2 De Ko, look around the house.
Soldier 1 We spotted this one trying to get away.
Mother No please, take me she’s vulnerable.
. Soldier 1 slaps mother, mother sobs
Soldier 1 Khuti
Mother continues to sob
Soldier 2 We found the papers sir
*Audio of rustling papers*
Soldier 1 Just as we thought… Rohingyas. Take the old dog, she has no papers.
Mother Please let her go, I’ll do anything
Soldier 1 Take the old dog!
Grandmother gets shoved into van * audio van door shut*
Soldier 1 Stay here
Mother Sobbing… yes sir
*audio of flames*. Mother begins to recite prayer
Mother Allah u Akhbar
Bismillah Arahman Naraheem
Subhanallah kallah huma
Mother notices the fire getting bigger, coughing escapes through the gulee.
Mother (coughing) Ya Allah, Ya Allah
Notices her surroundings *Audio of distress playing in the background*

Scene 7
Audio – ship noises
Afsana Being sick- I feel sick
Jabairi Come here, clean yourself! Do that outside the boat
Afsana I can’t breathe, the smell
Jabairi What, you was warned weren’t you?
Afsana There is urine and fesses everywhere! I feel weak, I need to sit down
Jabairi There’s no space stop complaining. You get your money’s worth
Afsana weeping
Jabairi There’s the boat
Afsana Shukriah(Thank god) sobbing
Jabairi Juldi(quick) on the boat! Jaldi, Jaldi!
Hussain, Aja. Help me move these bodies
People praying, crying, weeping. Babies crying, gasping noises splashing noises, etc
Jabairi (to Hussain pointing at the Afsana) Keep this one safe.
Scene 8
Coughing & crying – in the village. Audio of people in distress
Zomilah We were told to stay inside, but they set our houses on fire.
People were being shot by the Rakhine’s and the police.
There’s no time to put the fire out. We have to leave now.
Mother They’re coming with knives.
Screams & running
We have nothing for them. Why are they doing this?
Zomilah I don’t know. I left in the clothes I’m wearing. I can’t go back.
Mother I must go to Bangladesh to meet my daughter. She’s young, and alone.
Zomilah Come with me. We have a boat heading that way.
Mother Alhamdulilla. Thank you.
Soldiers shouting
Zomilah Come quick. They’re coming!
Running & footsteps
Soldier 1 Quick, quick! They’re in the bushes! Jaldi! Jakdi! Pakare – after them!
Zomilah It’s just there! Almost there!
Soldier 1 Hah! I got one!
Sound of the waves
Mother Afsana!
Afsana Umi!

Ala Kachuu Set Piece

We have decided to interpret this issue through Dance Theatre, combining abstract contemporary dance, inspired by the choreography of Akram Khan with influences from the traditional dance of Kyrgyzstan. The traditional dance has many intricate hand gestures. We have used these hand gestures in our motifs to reflect the Restless Beings Logo.

This piece starts with a calm serenity as we see women praying and performing movements that have a ritualistic feel. As the piece progresses the mood gets darker and more frantic as we see ‘Ala Kachuu’ played out.
The piece consists of duet work, portraying the struggle, surrender and final acceptance of the women’s fate.
Scarves have used to show the ritual of an ‘Ala Kachuu’ as well as the transition of the female dancers from girls into women.

We have selected traditional music from Kyrgyzstan for this section. The first piece is soft and lyrical in feel. The second piece will be percussive and far more frantic in tone.

Throughout the dance piece images will be projected onto the back walls that convey the Ala Kachuu story.

Costume well be simple and clean, allowing for quality and ease of movement

Ala Kachuu
Rehearsal Photographs
Rehearsal photo 1
Showing struggle and surrender were women and young girls were kidnapped from Ala Kachuu.

Rehearsal photo 3Rehearsal photo 2
Women and girls are powerless where the kidnappers are taking them away.
Rehearsal photo 4Rehearsal photo 5
Woman and girls feel helpless and unable to escape.

Rehearsal photo 6
Woman are feeling insecure wanting to be set free and be reunited with family.
Rehearsal photo 7Rehearsal photo 8

Rehearsal photo 9
Fears of anger and how to express emotions of being trapped

Rehearsal photo 10

Kidnappers taking control by force.

Rehearsal photo 11

Women anguish in her expression.
Rehearsal photo 12
Resorting to praying for a source of help as a last resort.

Cultural Entrepreneurship portfolio – Interdisciplinary project

Interdisciplinary project, PA 1104 Lewis meetings.

Week3 rehearsal page2 continued.

#Angie Tex using for the performance, would you call your mother, would you pray, would you wish your life to end,

#then Angie will say more Tex quotes that were made up by the group.

#Then myself and Angie run through some movement without arms, giving directions like air hostess I I felt this will be a good idea. So we would incorporate some movement back, keeping in with the theme of the characters.

#the dancers then ran through the movement using the time tunnel syndrome.

#some of their movement was fast abrupt, and some of the movement using the time tunnel syndrome was slow ally gated and stretched out.

#while the dancers would do in their movement. We walked to the other side of the room.

#this worked very well because of the stretching of time and what it represents. Within a real disastrous situation.

#we interact with the dancers to link the work together.

#we use music and sound effects, which creates atmosphere Association to subject matter, draws audience feeling the emotion in connection with the movement and with what’s happening.

We ended the rehearsal, we all think it went very well and I placed all the props in the locker ready for Monday for the dress rehearsal