Pieter Verstraete
Dr. Pieter Verstraete is a Theater Scholar, currently residing in Berlin, Germany. Since 2019, he is a tenured Assistant Professor at the Arts, Culture and Media department of the University of Groningen. He is also managing editor of the European Journal of Theatre and Performance, elected ExCom member of EASTAP, member of the monitor and evaluation committees for opera in the Dutch Arts Council, and the current Chair of the MCAA Benelux Chapter. From September 2020 until March 2023, he was a Marie Skłodowska-Curie Fellow at the Institut für Theaterwissenschaft of the Freie Universität Berlin as PI of the ExiLives project.
Between 2018 and 2019, Dr. Verstraete was working as a part-time Lecturer at the Theatre Studies Institute of the University of Amsterdam. Between 2012 and 2018, he was affiliated to various universities in Turkey. From 2010 until January 2012, he was a full-time tenured Lecturer at the Drama Department in Exeter. Before 2010, he taught at the Institute for Theatre Studies of the University of Amsterdam, as well as the Cultural Studies Department of the Radboud University of Nijmegen (the Netherlands).
His main research interests are in contemporary (music) theatre, socio-political, activist forms of performance and post-migration. He also works as a freelance theatre critic. In 2012, he received a Tübitak scholarship at Ankara University, a one-year Mercator-IPC Fellowship at Sabanci University and became an Honorary University Fellow to the University of Exeter. In 2013, he continued his research at the Migration Research Center of Istanbul Bilgi University with the support of Türkiye Burslari.
Verstraete’s first post-doc research project during his Mercator-IPC Fellowship was entitled ‘Turkish Post-Migrant Theatre in Transit: Transnational Pathways of Socio-Artistic Collaboration between Germany and Turkey’ in the thematic area of ‘Education’. During his Türkiye Burslari fellowship, he continued the postdoc research with a specific focus on music theatre and contemporary opera, under the title: “Post-Migration in Music Theatre: Listening at the Cultural Crossroads between Europe and Turkey”.
Currently, he is looking at the work of Turkish and Kurdish artists who collaborate with European ensembles or who work against censorship practices in Turkey to address socio-cultural issues like post-migration, exilic life and insurgency through theatre performances. His MSCA-Action, entitled "Exiled Lives on the Stage: Turkey’s Theatre Artists at the Crossroads of New Aesthetic Practices and Political Subjectivities" (acronym: ExiLives), gives him the opportunity to document the personal stories and artistic productions by exiled (theatre) artists from Turkey in Europe. The theatre arts are discussed for their utility in understanding new political subjectivities and aesthetic practices emerging from the exilic situation. The project runs a podcast, called Exiled Lives. For more information, please visit the project website at exiledlives.eu.
Pieter Verstraete holds a PhD degree in the Humanities from the Department of Theater Studies and the Amsterdam School for Cultural Analysis of the University of Amsterdam.
Supervisors: M.A. Bleeker, C.B. Balme, J. Lazardzig, G.K.H. Ley, and B.P. van Heusden
Phone: 00491632240656
Between 2018 and 2019, Dr. Verstraete was working as a part-time Lecturer at the Theatre Studies Institute of the University of Amsterdam. Between 2012 and 2018, he was affiliated to various universities in Turkey. From 2010 until January 2012, he was a full-time tenured Lecturer at the Drama Department in Exeter. Before 2010, he taught at the Institute for Theatre Studies of the University of Amsterdam, as well as the Cultural Studies Department of the Radboud University of Nijmegen (the Netherlands).
His main research interests are in contemporary (music) theatre, socio-political, activist forms of performance and post-migration. He also works as a freelance theatre critic. In 2012, he received a Tübitak scholarship at Ankara University, a one-year Mercator-IPC Fellowship at Sabanci University and became an Honorary University Fellow to the University of Exeter. In 2013, he continued his research at the Migration Research Center of Istanbul Bilgi University with the support of Türkiye Burslari.
Verstraete’s first post-doc research project during his Mercator-IPC Fellowship was entitled ‘Turkish Post-Migrant Theatre in Transit: Transnational Pathways of Socio-Artistic Collaboration between Germany and Turkey’ in the thematic area of ‘Education’. During his Türkiye Burslari fellowship, he continued the postdoc research with a specific focus on music theatre and contemporary opera, under the title: “Post-Migration in Music Theatre: Listening at the Cultural Crossroads between Europe and Turkey”.
Currently, he is looking at the work of Turkish and Kurdish artists who collaborate with European ensembles or who work against censorship practices in Turkey to address socio-cultural issues like post-migration, exilic life and insurgency through theatre performances. His MSCA-Action, entitled "Exiled Lives on the Stage: Turkey’s Theatre Artists at the Crossroads of New Aesthetic Practices and Political Subjectivities" (acronym: ExiLives), gives him the opportunity to document the personal stories and artistic productions by exiled (theatre) artists from Turkey in Europe. The theatre arts are discussed for their utility in understanding new political subjectivities and aesthetic practices emerging from the exilic situation. The project runs a podcast, called Exiled Lives. For more information, please visit the project website at exiledlives.eu.
Pieter Verstraete holds a PhD degree in the Humanities from the Department of Theater Studies and the Amsterdam School for Cultural Analysis of the University of Amsterdam.
Supervisors: M.A. Bleeker, C.B. Balme, J. Lazardzig, G.K.H. Ley, and B.P. van Heusden
Phone: 00491632240656
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Books by Pieter Verstraete
Distinguished as well as young, emerging scholars from disciplines such as philosophy, comparative literature, musicology and art theory discuss concrete case studies in which these questions arise. The essays share a commitment to interdisciplinary approaches and the close analysis of cultural objects, and refuse to take for granted the conventional methodologies that often guide research projects in their respective fields. The Inside Knowledge volume stages encounters between different ways of knowing, which contribute to an interdiciplinary understanding of the concept of knowledge and of epistemological questions in the humanities.""
Chapters by Pieter Verstraete
With a strong sense of historical background, this book zooms in on current issues in relation to music theatre today. How do we expect cultural policy to categorize a hybrid ‘genre’ such as music theatre? Is the international (festival) circuit open enough to young and emerging artists? How can the artistic symbiosis music theatre calls for be dealt with in different institutional contexts: in education and training, in the media, in policy environments?"
Articles by Pieter Verstraete
Distinguished as well as young, emerging scholars from disciplines such as philosophy, comparative literature, musicology and art theory discuss concrete case studies in which these questions arise. The essays share a commitment to interdisciplinary approaches and the close analysis of cultural objects, and refuse to take for granted the conventional methodologies that often guide research projects in their respective fields. The Inside Knowledge volume stages encounters between different ways of knowing, which contribute to an interdiciplinary understanding of the concept of knowledge and of epistemological questions in the humanities.""
With a strong sense of historical background, this book zooms in on current issues in relation to music theatre today. How do we expect cultural policy to categorize a hybrid ‘genre’ such as music theatre? Is the international (festival) circuit open enough to young and emerging artists? How can the artistic symbiosis music theatre calls for be dealt with in different institutional contexts: in education and training, in the media, in policy environments?"
For full journal issue, please visit: https://journal.eastap.com/eastap-issue-5.
By bringing together such novel perspectives on sound and by contextualizing the historical validity of these claims, Verstraete maps out a conceptual framework to discuss the performative role of sound in relation to present-day cultures and politics of listening. He discusses the ramifications of this framework by means of a case study: The Wooster Group’s recent music drama interpretation of Francesco Cavalli’s La Didone (2007-2009). In this performance, the musical spaces of Cavalli’s original dramma per musica are complemented by the sound-effects of blips and beeps and disembodied voices from Mario Bava’s science-fiction film Terrore Nello Spazio (aka Planet of the Vampires from 1965). The continuous juxtaposition of these two diegetic worlds and respective narratives creates a schizophonic perspective that urges the listener to create new connections, a new synthesis between the sounds, texts and images in an attempt to ‘perceive it all’: a global or evenly hovering attention. Yet the auditory distress constantly disrupts the evident mechanisms that would compensate the auditory distress. As such, the constant split in looking and listening (acousmatization) stresses the unframeability of sound and the necessity of the spectator to position oneself through her or his modes of listening, constantly shifting the attention. In this way, La Didone highlights the effects of auditory distress, causing awareness for the attitudes and regimes in listening that give salience, coherence, meaning and relative ‘closure’ to our fragmented experiences, ultimately filtered by our auditory imagination as the basis of these mechanisms. This awareness, in turn, gives rise to a mode of relating and positioning of the spectator as listening subject.
Hence, the proposed conceptual framework aims to offer a new perspective on the listener in contemporary theatre performances. In particular, it explains how the spectator as listener feels a desire to relate to sounds or music within the context of theatre’s hypermedial mechanisms, offering him occasional flashes of awareness about his responsibility as a listening subject. The spectator’s urge to respond to the auditory distress and the theatre’s promise to provide resolution in this desire precisely constitute the performative power of sound in the theatre. Ultimately, with the help of the case study, the conceptual framework aims to anchor the discussion of sound in contemporary (music) theatre within the comprehensive though much contested space of aurality. Verstraete concludes with a proposal to relate the still ill-defined notion of aurality to an understanding of listening as a foremost discursive practice.
I would like to acknowledge that the current policy brief is inspired generally by the format of Telli-Aydemir and Cagla’s excellent policy brief, "Supporting Scholars in Exile: Towards Long-Term Career Path Solutions", for which I would like to extend my gratitude to the authors, in the hope that our reports will strengthen initiative.
This panel debate was part of the MSCA ExiLives' final public outreach event, "Exiled Lives on the Stage: Practices of Self-Fashioning, Archiving and Decolonization", and it took place on 24 February 2023 at Berlin's Hotel Continental, Art Space in Exile.
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 893827.
With: Barış Seyitvan, Diren Demir, Vasilisa Palianina, Shirin Ashkari, Mariia Kulchytskaya, and Leman Sevda Darıcıoğlu, moderated by Pieter Verstraete.
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 893827.
The presentation was part of the ExiLives' final public outreach event, "Exiled Lives on the Stage: Practices of Self-Fashioning, Archiving and Decolonization", and it took place on 24 February 2023 at Berlin's Hotel Continental, Art Space in Exile.
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 893827.
This talk will take place as part of the series "Modern Türkiye Tiyatrosu: Kökler, Saçaklar, Uğraklar" on Friday, 3 February 2023, 18:30 - 20:00, at the Atatürk Library Conference Room, Gümüşsuyu/Taksim in Istanbul.
Bu söyleşi, "Modern Türkiye Tiyatrosu: Kökler, Saçaklar, Uğraklar" dizisi kapsamında 3 Şubat 2023 Cuma, 18:30 - 20:00, İstanbul, Gümüşsuyu/Taksim Atatürk Kütüphanesi Konferans Salonu'nda gerçekleştirilecektir.
In this special panel discussion, organised as part of the Arcola Participation program, we will debate the role and impact of artistic migrants in London and the UK, including lived experiences, affects but also politics of support, solidarity, resilience and (self-)care. We will explore what is to be uprooted or self-exiled; what options and ‘response-ability’ artists can still have to continue their work in London, at the Arcola or elsewhere; what the risks and conditions are of making art in Turkey’s current political conjuncture; what limitations the new exilic city brings; as well as which strategies of self-care artists have used to find new opportunities.
Please email production@arcolatheatre.com to book your free ticket.
For the latest update on this event, please visit https://www.arcolatheatre.com/whats-on/exiled-lives-on-the-stage/. Audio will be available after the event on the Exiled Lives podcast.
Taking the double perspective of ‘matter’ and ‘urgency’ as a departure point, we would like to bring issues of exilic life and theatre production to the table. Dr Pieter Verstraete will first briefly share results of his Marie Curie-project, “Exiled Lives on the Stage: Turkey’s Artists at the Crossroads of New Aesthetic Practices and Political Subjectivities” (acronym ‘ExiLives’, grant nr. 893827), which he is conducting at the Institute of Theatre Studies of the Freie Universität Berlin. In this presentation, Verstraete offers a mapping of supportive institutions, grants and networks, who supported artists at risk from Turkey in Germany, followed by recommendations for a more sustainable cultural policy regarding incoming artists from unsafe regions.
After the presentation, the floor is opened to a comparative panel discussion with three theatre artists from Turkey, Mîrza Metîn, Memet Ali Alabora and Kawa Nemir, who due to personal risk are currently residing in Germany, U.K. and the Netherlands, respectively. We discuss the response-ability of artists who had to flee from their country, their works vs the ‘exilic performative’, the urgency of being ‘uprooted’, and the relevance of artist residencies and support networks from a comparative perspective.
The presentation and panel debate were part of the 15th Congress of the Gesellschaft für Theaterwissenschaft e.V (GTW), 'Matters of Urgency', and it took place on 29 September 2022 at the Freie Universität Berlin. For more conference info, please visit: https://matters-of-urgency.de/exiled-lives-on-the-stage_theatre-practices-and-networks-for-turkeys-displaced-artists-in-germany-u-k-and-the-netherlands.
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 893827.
In fact, prominent political voices even tried to find public support through the media for a hypothesis that theatre director Mehmet Ali Alabora and his theatre play Mi Minor had played a significant role in ‘preparing the revolution’ because of its use of social media and support received from Great Britain, which would confirm the conspiracy theory that a coup was planned from abroad. Earlier, news leaked out in Spring 2013 that a draft and foundation of the Turkish Arts Council law (Türkiye Sanat Kurumu, TÜSAK), was to replace the old system of support for State and municipality theatres by means of a more ‘flexible’ model that would incite theatre artists to apply for concept funding. Such a change, however, would touch the very fabric of the cultural infrastructure of arts distribution, access and control; so theatre artists greeted it with a lot of skepticism suspecting more government control and (auto-) censorship as its true aims.
In my paper, I will explore how the performing arts in Turkey have been struggling and resisting in this climate of censorship, media warfare and a pending restructuring of state subsidies for the arts as part of a bigger institutional and ideological web of Turkey’s volatile political arena. I will focus on performative and theatrical forms of social protest as part of a larger discursive set of practices in the (visual) language of civil societies and individual protestors to resist these hegemonic practices. Not the ‘performativity’ of protest actions as such but the relations and influences of civil societies and their own generated modes of representation on the very fabric of cultural production and distribution after Gezi will be discussed, particularly in light of recent times after the general elections where Gezi – together with the Kurdish issue – have gained again some momentum. I want to argue that, from a methodological point of view, these alternative modes of representation in the public realm challenge the very notion of ‘performativity’ in our discipline as well as necessitate a reassessment of our notion of the ‘political’ in contemporary forms of protest aesthetics.
I suggest discussing the latest protest aesthetics in Turkey in at least two ways: First, I will illustrate and contextualize Turkey’s renewed awareness of a ‘performativity in plurality’ as a tool of resistance against dominant strategies of the sovereign gaze, discourse, coercion and state violence. In this context, I will discuss Peggy Phelan’s ‘active vanishing’ (1996) as a most dominant yet paradoxical mode of performativity and illustrate this with examples from recent performative protest actions in Turkey. Second, I will present some of the remarkable responses in theatre and performance after Gezi that deal with the state of emergency concerning Turkey’s democracy but also with the pressures of auto-censorship as induced by the State. Particularly, the ethical issues of ‘response-ability’ (Ridout 2009; Reinelt 2015), raised by theatre practitioners, will be discussed against the upcoming governmental restructurings of the art scene in an attempt to keep presence and momentum of the Gezi resistance.
The presentation focuses on new works with smartphones, iPods and mp3-players, such as Dries Verhoeven’s Niemandsland (2012) or Judith Hofland’s Like me (2013), which particularly highlight individual experiences of the self in relation to a new sense of sociability that materializes into real-time urban encounters with places and people. Different from traditional audio-guided walking tours à la Cardiff, these audio theatre pieces turn the privacy of the highly-individual experience of the secret theatre into a feeling of submission to a technology, a network, a system, a bodiless or disembodied voice.
Pieter Verstraete expands on the voyeuristic desires of the ear (‘ecouterism’) in these audio walks until the proverbial ‘acousmatic’ curtain drops down and reveals the theatricality of the final cut, its investment in the imagination’s deceptively homogenising workings of the listening act, as well as the drama of the listener’s own dissociation, dispossession and difference. Verstraete regards the latter as one of the fundamental human experiences of listening that produces the (modern) self but that also allows us to see ourselves in relation to sounding/listening others in new social contexts. As such, these performances with new locative personal stereos help to debunk some of the myths of Hosakawa’s secret theatre of the 1980s and see them in a new light of collective, relational experiences that open our ears and eyes rather than shut them off.
My concerns are twofold. The first part of my talk focuses on the theory of the disembodied voice. I discuss how an excess of auditory intensities, which is constituted by what I term ‘vocal distress’, invokes the desire to reinstate immediacy with or locate identity into the voice by attributing a metaphorical body, a ‘voice-body’ (Steven Connor 2000). I argue that this desire propels a necessity to position one’s self in relation to the vocal excess. The second part looks more closely on the ramifications of such a voice-body on our modes of auditory perception as virtual positions in relation to what we see in the vocal performance. This inquiry about our listening modalities includes a critique on the understanding of oral and literate modes of listening (Derrick de Kerckhove 1997) as mutually exclusive.
I substantiate these theoretical considerations by means of two small case studies: The Wooster Group’s La Didone and Franziska Bauman’s Electric Renaissance, respectively."
Based on Kurdish rituals, a physical-vocal history of Kurdish culture and Mîrza Metîn’s dramaturgy of fire, we explored decolonized practices of performance through intense vocal and physical training. Afterwards, Pieter Verstraete has a conversation with Mîrza Metîn about his Dîwan practice and his dramaturgy of fire (with translations by Rojda Yasik).
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 893827.
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 893827.
The workshop is free for everyone, inclusive and is particularly meant for young theatre professionals, graduates and amateurs of any level or background.
Language of instruction is English. We advise to wear light, sportive clothes, preferably in black to assure equality and attentiveness.
Please email Pan Productions to register for free: info@panproductions.co.uk.
This is the short programme for the final event of the ExiLives Project, a Marie Skłodowska-Curie Action under grant number 893827, lead by Pieter Verstraete at the Institut für Theaterwissenschaft of the Freie Universität Berlin. The event takes place from 21 until 24 February 2023 at Hotel Continental, Elsenstraße 87, 12435 Berlin.
"Exiled Lives on the Stage: Practices of Self-Fashioning, Archiving and Decolonization" takes place on 23 and 24 February 2023 at Hotel Continental, Arts Space in Exile, Elsenstrasse 87, 12435 Berlin. This is the final event of the ExiLives Project, a Marie Skłodowska-Curie Action under grant number 893827, lead by Pieter Verstraete at the Institut für Theaterwissenschaft of the Freie Universität Berlin.
The symposium aims to facilitate the dialogue and the further development of a network in the field of migration studies by bringing together Turkish and international academics as well as artists with a migration background. It investigates key issues and themes of Belgian-Turkish migration by looking at the legal and social history, national and European policy, the present cultural diversity, identity and ethnicity, transmigration and return migration, as well as artistic responses and perceptions in film, literature, visual arts and theatre. Hence, the symposium aims to contribute to the debates about the sociological memory that binds Turkey and Belgium for over 50 years.
Organized within the framework of the Mercator-IPC Fellowship Program at Istanbul Policy Center, this international symposium brings leading artists and academics from Turkey and Europe around the table to discuss the development of ‘post-migrant’ theatre. Particularly in Germany, ‘post-migrant’ has become a productive term to claim more representation of artists with a migration background in the theatre and art scenes. The term has come to mean a particular perspective outside the mainstream. In other European countries, artists have developed similar cultural practices and community initiatives that reflect upon the increasing multiculturalism and history of migration.
The symposium responds to a growing need to support network building between people and ideas to strengthen Turkish-German and Turkish-European relations. Not only in Europe but also more recently in Turkey, migrant and post-migrant art initiatives spread awareness for the stories of migrants and other minority groups.
Members of the conference team were:
Carla Brünott
Thomas Op de Coul
Pieter Verstraete
Hannah Bosma
Rokus de Groot
Scholars think of themselves as having “inside knowledge” or being “inside” knowledge. The state of being inside can be interpreted as a comfort zone or privileged position, or on the other hand, a trap excluding other ways of knowing. Is being inside knowledge a kind of all-compassing frame forming our subjectivity or are scholars active agents in this process? Do we discover or invent knowledge? While the myth of knowledge as objective and neutral appears to have been debunked, a question remains unresolved: If not objectivity, then what?
In search for an answer to this question, academic disciplines today often find themselves trapped between relativist and essentialist tendencies. Faced with the new multiple and complex realities of globalization, cross-cultural encounters and conflicts, the inadequacy of old approaches to knowledge underscores the need for either radical revisions of traditional modes of knowledge production, or alternative ways of doing and thinking knowledge. Disciplines therefore appear to be in need of specific methodologies, which could function across disciplinary borders and provide (tentative) grounds for inter- or transdisciplinary communication.
Borders are key instruments of power and exclusion, but they can also contribute to the formation of new identities and social movements. While becoming less visible, borders retain their significance in people’s lives. For better understanding of the many and varied interactions with borders, we find it useful to raise questions such as:
- Can borders safeguard certain rights and liberties without necessarily entailing the exclusion and suppression of others?
- What are the “new” borders that are being created within the global community?
- Who controls the “new” borders and who transgresses them?
My main concern is not the idiosyncrasies in artistic vision or contents regarding the representation of cross-cultural communities by individual theatre artists in their respective local and national settings. Rather, I would like to question the differences in the companies’ self-definitions in relation to their cultural climates and the retellings of the different pathways artists make within the scope of their works and careers. I would like to question how these founding ‘narratives of self’ in view of an increased social mobility could be explained through the wider discourses of transnational migration studies, as they are currently being developed in Europe and the U.S. Alternatively, I will problematize how these theatre developments challenge migration and cultural studies to think together transnationally. The multi- and cross-disciplinary making of transnational migration studies has inevitably engendered diverse and sometimes opposing definitions of transnationalism. As such, I would like to explore several aspects of transnational dynamics in the art – and business – of contemporary theatre making while searching for a common ground where European and American concepts, despite their very different geographical and historical parameters, could meet.
Hence, inspired by (post)migration practices on the theatre stage, I suggest boundary crossing within our own disciplines, particularly within American Studies, to start thinking of societies and communities as translocal, transnational and de-territorialized (Appadurai, 1996) beyond the old, restraining discourses of cultural imperialism.
– which I term a ‘socio-aesthetic approach’ – to identify issues that would be later tested against policy analysis and in-depth interviews. At the centre of my inquiry, I critically reread Schafer’s pivotal notion of the ‘acoustic community’ in soundscape theory through other, philosophical notions of community, such as Nancy’s ‘inoperative community’, Agamben’s ‘the coming community’ and Blanchot’s ‘unavowable community’, among others. I aim to conceptualise how mixed audiences are much-contested sites of tension between listening cultures shaping the individual against the hegemony of norms, tastes and prejudices that surround formative definitions of community."
Deadline abstracts: 28 May 2021;
First chapter drafts: Spring 2022;
Completed chapters: Autumn 2022;
Foreseen publication date: Spring 2023.
how can we examine and formulate these entanglements of aesthetic, cultural, and societal changes
? This is why the contributions we seek for this volume sit at the crossroads of theatre and performance studies, political sociology (with a specific focus on globalization and exile), policy and cultural analysis, including wider frames of decolonization, Kurdish and Turkish (language) studies,communication and translation studies, memory studies, dramaturgy, cultural leadership, anddemocracy studies.The focus of this volume is the period after the 2010s, which begun with the 2010 constitutionalreferendum, the 2012-2015 Peace Process with the PKK, the Gezi Park Resistance in 2013, themass-scale election fraud controversies that started in 2014, and the potentials that the 2015elections held. In the second half of the decade a long string of public bombings started with theSuruç bombing in 2015 and continued to 2018, and the period was marked with the 2016military coup attempt and its ensuing state of emergency period from 2016 to 2018. During thestate of emergency another constitutional referendum took place in 2017, as well as the massexile of academics, civil servants, journalists, and artists due to government decrees targetingthem. The decade ended with the Covid-19 global pandemic. All of these events influenced public emotions, shifting from hope to disappointment, from a sense of agency to defeatism.Under the influence of such socio-political transformations that shape Turkey both culturally and politically today as well as restructure the public and private fields of emotion, this volume askshow we can suggest new theoretical readings and terms, while counteracting attempts tocollectively forget/displace memories or overwrite the multifaceted performative acts that the2010s set in motion.