Journal Articles

Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915

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Author: search.filters.author.Hazou R

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    Performing Te Whare Tapa Whā: Cultural Rights and Decolonising Corrections
    (Taylor and Francis Group, 2021-08) Hazou R; Woodland S; Ilgenfritz P
    Ngā Pātū Kōrero: Walls That Talk (2019) is a documentary theatre production staged by incarcerated men at Unit 8 Te Piriti at Auckland Prison in Aotearoa New Zealand. The performance was built around Te Whare Tapa Whā (The House of Four Sides) – a model of Māori health that participants engaged with as part of their therapy for being convicted of sex offences. This article discusses the use of masks in performance and the significance of Te Whare Tapa Whā as a dramaturgical device. What insights for decolonising prison theatre practices can be advanced by building on foundations of cultural rights?
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    Carcerality, Theatre, Rights: Editorial
    (Taylor and Francis Group, 2021-08) Woodland S; Hazou R
    Threatened with ever-increasing levels of surveillance and confinement, this special issue attempts to extend the discussion of Prison Theatre to consider ‘carcerality’ as a pervasive neoliberal strategy. The issue aims to steer the discussion away from considerations of utility and the aesthetics of redemption, towards understandings of the arts in carceral spaces as a fundamental human right. What role can theatre and performance play in highlighting the rights of those experiencing state-sponsored control, confinement and exclusion? And what role can theatre and performance play in challenging the exclusionary structures of carcerality by enhancing freedoms, liberty and inclusion?
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    Unshackling the Body, Mind, and Spirit: Reflections on Liberation and Creative Exchange between San Quentin and Auckland Prisons
    (MDPI (Basel, Switzerland), 2022-01) Hazou R; Daniels R
    This article explores a creative project entitled Performing Liberation which sought to empower communities with direct experience of incarceration to create and share creative work as part of transnational dialogue. One of the aims of the project was to facilitate creative dialogue and exchange between two incarcerated communities: prisoners at Auckland Prison and prisoners at San Quentin Prison in San Francisco. Written using autoethnographic methods, this co-authored article explores our recollections of key moments in a creative workshop at Auckland Prison in an attempt to explain its impact on stimulating the creativity of the participants. We begin by describing the context of incarceration in the US and New Zealand and suggest that these seemingly divergent locations are connected by mass incarceration. We also provide an overview of the creative contexts at San Quentin and Auckland Prison on which the Performing Liberation project developed. After describing key moments in the workshop, the article interrogates the creative space that it produced in relation to the notion of liberation, as a useful concept to interrogate various forms of oppression, and as a practice that is concerned with unshackling the body, mind, and spirit.