By A. Jeffers
Utilizing examples of refugee arts and theatrical job because the Nineteen Nineties, this e-book examines how the 'refugee problem' has conditioned all arts and cultural task with refugees in an international the place globalization and migration pass hand in hand.
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Extra resources for Refugees, Theatre and Crisis: Performing Global Identities
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The ratio of military to civilian casualties at the beginning of the twentieth century was 8:1 and this has been exactly reversed to 1:8 military to civilians in Refugees, Crisis and Bureaucratic Performance 23 the ‘new wars’ since the 1990s (Kaldor, 2001). , 2009: 11). ‘Refugee flows are not a by-product of fighting but the strategic goal of war itself’ (Rieff, 2002: 130) and as war changes in its nature, increased numbers of refugees and displaced people are the direct result. Whatever the reasons for the increase in the number of refugees the perception that refugee movement is ‘global, diverse and increasing’ (McMaster, 2001: 33) has created a sense of panic leading to the conception of a ‘refugee crisis’ and of refugees as a ‘problem’ needing to be managed.
7). Domestic conditions in America in the early years of Bill Clinton’s presidency had a dramatic impact on attitudes to asylum seekers which led to the passing of tougher laws on political asylum (Schrag, 2000). In particular, because of the expedited removal provisions of the 1996 Illegal Immigration Reform and Immigrant Responsibility Act, anyone stopped in a US port can be refused entry if they do not hold a valid passport (Staeger, 2004: 76). 9 Even Canada, with its reputation for a more liberal approach to immigration, has seen a tightening of regulations since the early 1990s (Staeger, 2004).
There is no reason for it to misfire and yet it does not work. Why not? The answer lies in the two final conditions for felicity or a happy speech act. These state that the procedure is designed for people who have certain thoughts or feelings, or for the inauguration of certain consequential conduct on the part of any participant, [so that] a person participating in and so invoking the procedure must in fact have those thoughts or feelings, and the participants must intend so to conduct themselves, and further, [ ...