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Mothering Performance is a combination of scholarly essays and
creative responses which focus on maternal performance and its
applications from a variety of interdisciplinary perspectives. This
collection extends the concept and action of 'performance' and
connects it to the idea of 'mothering' as activity. Mothering, as a
form of doing, is a site of never-ending political and personal
production; it is situated in a specific place, and it is
undertaken by specific bodies, marked by experience and context.
The authors explore the potential of a maternal sensibility to move
us towards maternal action that is explicitly political, ethical,
and in relation to our others. Presented in three sections,
Exchange, Practice, and Solidarity, the book includes international
contributions from scholars and artists covering topics including
ecology, migration, race, class, history, incarceration, mental
health, domestic violence, intergenerational exchange, childcare,
and peacebuilding. The collection gathers diverse maternal
performance practices and methodologies which address aesthetics,
dramaturgy, activism, pregnancy, everyday mothering, and menopause.
The book is a great read for artists, maternal health and care
professionals, and scholars. Researchers with an interest in
feminist performance and motherhood, within the disciplines of
performance studies, maternal studies, and women's studies, and all
those who wish to gain a deeper understanding of maternal
experience, will find much of interest. The Open Access version of
this book, available at www.taylorfrancis.com, has been made
available under a Creative Commons Attribution-Non Commercial-No
Derivatives 4.0 license. Funded by University of South Wales
Maternal Performance: Feminist Relations bridges the fields of
performance, feminism, maternal studies, and ethics. It loosely
follows the life course with chapters on maternal loss, pregnancy,
birth, aftermath, maintenance, generations, and futures.
Performance and the maternal have an affinity as both are lived
through the body of the mother/artist, are played out in real time,
and are concerned with creating ethical relationships with an other
- be that other the child, the theatrical audience, or our wider
communities. The authors contend that maternal performance takes
the largely hidden, private and domestic work of mothering and
makes it worthy of consideration and contemplation within the
public sphere.
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