Pratap Rughani is chairing a panel prompted by Alia Syed‘s film On a Wing and a Prayer which is scheduled for 6.45 – 8pm on 2 June 2017 as part of Poetics and Politics of Documentary Symposium held at the Attenborough Centre for the Creative Arts, University of Sussex, between 2nd and 4th June, 2017. More here REFRAME .
Alia Syed‘s site-specific video installation On a Wing and a Prayer was displayed at the Stuart Hall Library from March-May 2016. Alia‘s work imaginatively recreates the journey undertaken by Abdul Rahman Haroun, who in August 2015 walked the entire 31 mile length of the Channel Tunnel in a bid to find asylum in the UK. He was arrested by the police and charged under the 1861 Malicious Damage Act; his trial is ongoing. On a Wing and a Prayer was part of the exhibition Migration Dreams and Nightmares, initiated by Nirmal Puwar (Methods Lab, Goldsmiths University), which responded to themes of migrant experience in John Berger and Jean Mohr’s novel A Seventh Man.
“As was the case at the 2013 conference, the Poetics and Politics conference will provide an invaluable context for documentary-based research that both troubles and reinvigorates the discrepant categories of scholarly “theory” and cultural “practice.” The symposium invites participants whose work frames, historicizes, or embodies questions about the various possible relations of theory to practice in documentary research”.
FRIDAY MAY 15, 2015 DARC 108
6:00- 6:30pm WELCOME and OPENING REMARKS
6:30-8:00pm EPISTEMOLOGIES OF PRAXIS (Sharon Daniel, Hope Tucker, Pratap Rughani)
This panel gathers practitioners whose documentary work provide key provocations for this symposium. Interrogating and problematising how documentary epistemologies and meanings are constructed, this panel raises specific approaches for demystifying documentary-making as a practice of visible evidence. Questions considered by this panel include: the scope of documentary practice in the ‘fourth world’; documentary materiality as a source for relaying narratives of unresolved environmental disaster; and the ethical (consent) and aesthetic/affective concerns in documentary-making processes that involve asymmetric power relations between makers and subjects. The panel offers pathways for understanding reflexive praxis as a source of competing historical and affective epistemologies, more than simply a move to deconstruct the documentary artefact. Through this, the panel situates how documentary-making as a socio-historical and psycho-social practice intervenes in contemporary geo-political scenarios.
Poetics & Politics Abstracts and Programme
University of California, Santa Cruz USA