BUFFER FRINGE PERFORMING ARTS FESTIVAL:CREATING AND CURATING BEYOND THE LIMINAL FRAGILITYOF BUFFER ZONES IN CYPRUS

Authors

DOI:

https://doi.org/10.55877/cc.vol24.414

Keywords:

post-conflict buffer zones, performing arts festival, liminal fragility, affective agency, pandemic, curation

Abstract

The Buffer Fringe Performing Arts Festival was born out of the contested and fragile space in between border lines, the buffer zone in Nicosia, Cyprus. This paper will address the Festival’s enactment of a new understanding of affective space that can enable resistance and co-creation beyond the liminality of a post-conflict buffer zone (in Nicosia and beyond) through the pandemic in 2020–2021, and 2022. As we will explore the Festival’s role in creating dialogue between the space and narrative layers of melancholia and nostalgia beyond the rupture that the division has produced through collaborative and process-based approaches, we will unpack the role art and co-creation can play at a moment and a space of transition to produce alternative affective agency. Within an already contested geography, 2020 brought along the pandemic and the closure of crossing points in Cyprus which paused all planned activity and demonstrated the fragility of contact between communities and artists, whilst simultaneously producing new possibilities. Buffer Fringe 2020 was one of the few artistic platforms in Cyprus and globally to have adapted and materialized a hybrid festival, while also developing interdisciplinary and innovative methodologies. Encouraging a decolonizing agenda and embedding creativity into a social process, the paper also looks into the public space intervention in the recently opened part of Famagusta in 2021, consequently touching upon the collective curatorial approach of the Festival in 2022 as embodiments of a new understanding of space that can enable resistance and co-creation beyond liminal fragility. 

Downloads

Download data is not yet available.

Author Biography

  • PhD Ellada Evangelou, University of Cyprus, Cyprus

    Ellada Evangelou was born and raised in Cyprus. She has studied in Cyprus and the United States and was awarded a Fulbright scholarship for graduate study. She has worked as a dramaturg, theater director, workshop facilitator, and independent consultant, in collaboration with theater companies, NGOs, and international organisations. She teaches courses in theater and dramaturgy in higher education in Cyprus and the United States, among them at Gallatin School of Individualized Study (NYU), Princeton University, university of Cyprus. She is interested in the relationship between theater/dramaturgy and identity, and works in the intersection of aRtivism and scholarship in post-colonial, post-conflict communities. She is co-founder of Rooftop Theatre, a 2020-21 Global Fellow of the International Society for the Performing Arts, as well as the Artistic and Executive Director of the Buffer Fringe Performing Arts Festival from 2019 to 2022.

References

Sources

Aktar, A., Kizilyürek, N., and Özkirimli, U. (2010). Nationalism in the troubled triangle: Cyprus, Greece and Turkey. Basingstoke: Palgrave Macmillan.

Bardak, E. Plumer. (2021). From Narration to Dialogue? Thinking about the Way We Talk about Contemporary Visual Art in the Turkish Cypriot Community. In: E. Stylianou, E. Tselika, G. Koureas (eds.). Contemporary Art from Cyprus: Politics, Identities, and Cultures across Borders. London: Bloomsbury Visual Arts, 37–52.

Bloomsbury Collections.

Berger, J. (2003). The Shape of a Pocket. Reprint edition. London: Vintage.

Bhabha, H. K. (1994). The location of culture. London: Routledge.

Bhabha, H. K. (2004). The location of culture. Second edition. London: Routledge.

Birey, T., & Ulubatli, D. (2021). Being and Understanding the Other: A Brief Look at the 21st Century Cypriot Art. European Mediterranean Art Association: Art for All Publications.

Bishop, C. (2012). Artificial Hells: Participatory art and the politics of Spectatorship. London: Verso.

Boym, S. (2001). The Future of Nostalgia. New York: Basic Books.

Boym, S. (2017). The off-modern. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc.

Bryant, R., and Papadakis, Y. (2012). Cyprus and the politics of memory: History, community and Conflict. London: I. b. Tauris.

Butler, J. (2015). Notes toward a Performative Theory of Assembly. Cambridge, MA: Harvard University Press.

Freud, S., et al. (2001). The Uncanny. In: The standard edition of the Complete Psychological Works of Sigmund Freud. London: Vintage.

Khanna, R. (2003). Dark continents: Psychoanalysis and colonialism. Durham, NC: Duke Univ. Press.

Navaro-Yashin, Y. (2012). The make-believe space: Affective geography in a postwar polity. Durham, NC: Duke University Press.

Rosaldo, R. (1993). Culture and truth: The remaking of social analysis. Boston: Beacon Press.

Said, E. W. (1993). Culture and Imperialism. London: Vintage.

Spivak, G., C. (1988). Can the Subaltern Speak? In: C. Nelson and L. Grossberg (eds.). Marxism and the Interpretation of Culture. Basingstoke: Macmillan.

Shaughnessy, N. (2012). Applying performance: Live art, socially engaged theatre and affective practice. New York: Palgrave Macmillan.

Stoler, A. L. (2013). Imperial debris: On ruins and ruination. Durham: Duke University Press.

Turner, V. (1974). Passages, margins, and poverty: Religious symbols of communitas. In: Dramas, fields, and metaphors: Symbolic action in human society. Ithaca, NY: Cornell University Press, pp. 231–271.

Turner, V. (1969). The Ritual Process. Structure and Anti-Structure. Brunswick and London: Aldine Transaction.

Zetter, R. (1994). We Are Strangers Here: Continuity and Transition – The Impact of Displacement and Protracted Exile on the Greek-Cypriot Refugees. Headington: Oxford Brookes University.

Journal Articles

Bryant, R. (2012). Partitions of memory: Wounds and witnessing in Cyprus. Comparative Studies in Society and History, 54(2), pp. 332–360. Available: https://doi.org/10.1017/s0010417512000060

Bryant, R. (2014). Living with Liminality: De Facto States on the Threshold of the Global. Brown Journal of World Affairs, 20(2): 125–143. Spring/Summer. Available: http://eprints.lse.ac.uk/id/eprint/61300

Evangelou, E. (2018). Theatre Beyond Nationalism: Participatory Art in the Cyprus Buffer Zone. The Cyprus Review, Vol. 31(1). Available: https://cyprusreview.org/index.php/cr/article/view/638

Green, S. (2010). Performing border in the Aegean. Journal of Cultural Economy, 3(2), pp. 261–278. Available: https://doi.org/10.1080/17530350.2010.494376

Gürel, A., and Özersay, K. (2006). Cyprus and the Politics of Property. Journal of Medi­terranean Politics 11, no. 3: 349–69. Available: doi:10.1080/13629390600913957

Hynes, M., and Sharpe, S. (2009). Affected with joy: Evaluating the mass actions of the anti-globalisation movement. Borderlands, vol. 8, no. 3, pp. 1–21.

Ioannidou, E., Christodoulou, V., & Evangelou, E. (2022). From ethnography to performance: transforming interview narratives into artistic performative acts – The project ‘Greco’ at the Buffer Fringe Performing Arts Festival. Language and Intercultural Communication, 22: 2, 155–175. Available: DOI:10.1080/14708477.2022.2038186

McManus, S. (2011). Hope, Fear, and the Politics of Affective Agency. Journal of Theory & Event 14, no. 4. Available: https://doi.org/10.1353/tae.2011.0060

Tsing, A. L. (1994). From the margins. Cultural Anthropology, 9(3), pp. 279–297. Available: https://doi.org/10.1525/can.1994.9.3.02a00020

Turner, V. (1982). Liminal to liminoid in play, flow, ritual: An essay in comparative symbology. In: From ritual to theatre: The human seriousness of play. Performing Arts Journal, pp. 20–60.

Websites

Buffer Fringe. A manifesto for the post-pandemic Festival (2022). Available: https://bufferfringe.org/about/ (viewed 14.042023.)

Buffer Fringe (2022). Thinking partners program Report. Available: https://bufferfringe.org/wp-content/uploads/2022/09/Thinking-Partners-BF-ICAF-Report_V2.pdf (viewed 14.04.2023.)

Brandeis University (2023). Buffer Fringe Festival (BFF) 2020: An artist-based conflict transformation festival on the fringes. | Peacebuilding and the Arts | Brandeis Univer­sity. Available: https://www.brandeis.edu/ethics/peacebuilding-arts/publications/newsletter/2023/bf-report.html (viewed 15.04.2023.)

EEA Grants (2023). Programmes and Projects Information- Home for Cooperation (H4C). Available: https://eeagrants.org/archive/2014-2021/projects/CY-CIVILSOCIETYPDPs-0001 (viewed 04.05.2024.)

Famagusta New Museum (FNM) (2022). Famagusta New Museum FNM. Available: https://famagustanewmuseum.com/?fbclid=IwAR2EqY72PILx_BF-0Moek7Z0kjReZv9ZIzlrl5q_qFOFXOflfRuONbV9i1M (viewed 15.04.2023.)

Gallatin Galleries (2020). Buffer Fringe Performing Arts Festival. Available: https://wp.nyu.edu/gallatingalleries/past-shows/2020-2022/bf/ (viewed 14.04.2023.)

Home for Cooperation (2022). Buffer fringe 2020–2021 theme: Displacement. Avail­able: https://www.home4cooperation.info/buffer-fringe-2020-2021-theme-displacement/ (viewed 14.04.2023.)

Home for Cooperation (2022). Pockets (beyond). Available: https://www.home4cooperation.info/buffer-fringe-2022/ (viewed 14.04.2023.)

Home for Cooperation (2022). Open Call for Artists: Buffer Fringe Festival 2022. Available: https://www.home4cooperation.info/wp-content/uploads/2022/03/Open-Call-2022-Final_EN.pdf (viewed 14.04.2023.)

Home for Cooperation (2020). Argyro Nicolaou: History Lesson. Available: https://www.home4cooperation.info/bf-2020-argyro-nicolaou/ (viewed 14.04.2023.)

Home for Cooperation (2020). Argyro Nicolaou #2: Class #2: Sources for an alternative history of Cyprus. Available: https://bufferfringe.org/artists-work/argyro-nicolaou-2/ (viewed 14.04.2023.)

Josh (2022). Sound walks, audio tours, Spatial Audio Experts & Custom Projects, ECHOES. Available: https://echoes.xyz/ (viewed 15.04.2023.)

Downloads

Published

05.12.2024