Feminist Live Art in Aotearoa New Zealand: Bound and Unbound Tensions in the Work of Julia Croft, Virginia Frankovich, and Nisha Madhan

Hannah Banks

Back

Feminist Live Art in Aotearoa New Zealand: Bound and Unbound Tensions in the Work of Julia Croft, Virginia Frankovich, and Nisha Madhan

Journal article

Open access

Peer reviewed

Feminist Live Art in Aotearoa New Zealand: Bound and Unbound Tensions in the Work of Julia Croft, Virginia Frankovich, and Nisha Madhan

Hannah Banks

Performance Paradigm, Vol.15, pp.98-118

2020

Appears in UniSC Diversity and Inclusion Research Collection

Files and links (2)

pdf

PDF - Published Version (Open Access)1.22 MBDownload View

Published VersionPDF - Published Version (Open Access)CC BY-NC-SA V4.0, Open Access

url

https://www.performanceparadigm.net/index.php/journal/article/view/230View

Webpage

Abstract

Art Theory and Criticism

Performing Arts and Creative Writing

Visual Arts and Crafts

devised theatre

feminist

live art

Aotearoa New Zealand

UniSC Diversity Area - Gender Equity

This article explores three performance works by Julia Croft, Nisha Madhan, and Virginia Frankovich. They are leading examples of feminist live art in Aotearoa New Zealand and one of the aims of this article is to record and discuss some of their ephemeral performance work-this is a feminist act within itself. The works discussed are If There's Not Dancing at the Revolution, I'm Not Coming, performed by Croft and directed by Frankovich; Power Ballad, again performed by Croft but directed by Madhan; and Medusa, created and performed by all three artists. These works have many similarities, namely that they all contain powerful imagery and often communicate visually rather than through text. However, the subject matter of each work addresses different themes: the unpacking and dissecting of the mediatised image of women; struggling against the systemic hold of language; and viscerally demonstrating a monstrous yet beautiful rage against the power structures that are all around us. The work of Croft, Frankovich and Madhan is fluid, constantly evolving, and perhaps could be looked to as an example of Southern feminist performance.

Details

Title: Feminist Live Art in Aotearoa New Zealand: Bound and Unbound Tensions in the Work of Julia Croft, Virginia Frankovich, and Nisha Madhan
Authors: Hannah Banks (Author) - University of the Sunshine Coast
Publication details: Performance Paradigm, Vol.15, pp.98-118
Publisher: University of Melbourne, School of Creative Arts
Date published: 2020
ISSN: 1832-5580
Copyright note: Copyright © 2020 Hannah Joyce Banks. Except where otherwise noted, this work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (https://creativecommons.org/licenses/by-ncsa/4.0/).
Organisation Unit: School of Business and Creative Industries; University of the Sunshine Coast, Queensland; School of Creative Industries - Legacy
Language: English
Record Identifier: 99450811402621
Output Type: Journal article

Metrics

216 File views/ downloads

73 Record Views