![]() What if we convince her to stay? How rare and beautiful it is that we exist. What is our future if we do not work together towards change? Ayisha Siddiqa may have said it best, “If the future leaves without us, the silence that will follow will be an unspeakable nothing. Finally, at Maison du Maroc in Paris - an institutional space belonging to the Moroccan state – some spectators voiced their unhappiness that witnesses who took part in my performance had referred to ‘problems’ they had had with Muslims in Morocco prior to their departure.Youth climate activists and changemakers from around the world recently gathered to share their knowledge and perspectives at UNLEASH’s Regional Innovation Lab in Greenland. Yolande Cohen (who organised my screening).Īfter a screening at the Espace Culturel et Universitaire Juif d’Europe in Paris, a person complained to me personally that he was against my project, because it focused on Jewish identity at a time of ongoing conflict between Israel and Palestine. In a projection at the Spanish and Portuguese Synagogue of Montreal, a small number of Jews from North African countries complained that their experience had been worse than that of Moroccan Jews - on that occasion the situation was mediated by prof. However, while there were no moments of conflict during the performative events in Paris and Camporovere, disagreements were expressed on three occasions during the screening (outside of Morocco) of the documentary about the Parisian performance. I was prepared for some visitors, after realising that I was working on a Jewish subject, might come to my performance in Paris to protest against Israel. Each performance was introduced as a performative space of encounter, not as a quest for truth. This paper illustrates in both examples, the role that public reaction and stories play in making heritage as always in a state of becoming.Īt the start of each performance, as well as before the screening of 5 vues sur 5 témoignages, I explained to the audience that I was an artist not a historian, and that I was not presenting an historical reconstruction of the events, nor the ‘final’ truth about what had happened, rather a multitude of experiences. In the second intervention, the collective performance Mellah (2017), the creation of a safe, symbolic and dedicated space favours the telling of the unshared memories of Moroccan Jews who migrated to Paris. In the first case study, Un lavoro per Camporovere (2014), the public listening to a sound installation – comprised of interviews – brings together the two halves of a village divided by Nazi arson in 1944 and helps the citizens to create a new collective narration of the event. Furthermore, it contributes to the understanding of memory-making as a dialogic process. Describing how unique spaces of participatory art for activating individual and collective remembering among witnesses and listeners were created, it highlights the potentialities of artistic practice in dealing with memorialisation issues and expanding the authorship of a narrative and the group of people it represents. Using two of my performance pieces as case studies, this paper analyses the use of oral testimony and listening in contemporary performance to activate a narrative reaction from the public. ![]()
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