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Despite not having been able to see much of the city, it was incredible to be in Prague for the 20th annual GLOBSEC Forum last week. As a performance scholar, it was a fascinating event—full of technological spectacle in the form of enormous digital scenography, sharply executed stage management and event coordination, and social performances of personal security, political speeches, and hushed diplomacy in the “bilateral corridor.” All washed down with some excellent Czech beer, of course.

More importantly, GLOBSEC 2025 included reflections on and from the arts for the very first time, with the panel Cultural Frontlines: An Artist’s Toolkit. As Sally Painter (Co-Founder and Chief Operating Officer at Blue Star Strategies) put it in her opening remarks for the panel, the “GLOBSEC Forum has brought together key opinion leaders to discuss the most urgent challenges in Europe and around the world” to engage in “high-level discussion” and policy development for twenty years. However, she added, if we are genuinely to seek global security solutions, then the conversation:

“Requires genuine engagement with communities themselves, these are the true protagonists in decision making about resilience, healing and rebuilding after conflict and disaster.”

In that context, then, it really matters that such a significant summit as GLOBSEC would programme the arts as offering new strategic perspectives for the conference:

“This is not just a symbolic gesture, it is a vital recognition that the voices of artists and the communities they represent are essential for meaningful restoration and rehabilitation. Art not only reflects on shared experiences but also empowers to envision new possibilities and take collective action.”

Our panel sought to bring that recognition to life. Jan Gilbert spoke about her decades of work creating deeply collaborative, place-based art in post-disaster New Orleans—acts of memorialization, and mechanisms for community healing. Yuliia Manukian brought insight from wartime Ukraine, where her curatorial practice creates ephemeral yet powerful public art interventions that reclaim urban space and reassert cultural identity amidst ongoing violence. Kathy Randels shared the grounded, emotionally resonant work of ArtSpot Productions in New Orleans and beyond, showing how ensemble performance processes with incarcerated and displaced people generate spaces of trust, dignity, and political voice. And I reflected on the ways performance might act as strategic tool in reimagining the future, how arts organisations should be considered critical strategic security partners, and how artists need paid for the expertise they bring to critical problem solving.  

In all these ways, the arts were not simply being represented—they were being recognised as a critical part of the future of global security and resilience. That GLOBSEC is beginning to engage with this reality is no small thing. It signals a welcome shift in how we think about security, power, and the ways we collectively imagine, perform, and build more resilient futures.

A video recording of the panel can be found at: https://www.youtube.com/watch?v=9gdFEHN1GkQ

Delighted to have been invited to sit on a panel at the 20^th annual GLOBSEC conference, #GLOBSEC2025 in Prague. The conference opened with urgent addresses from Róbert Vass (President and Founder of GLOBSEC) and Petr Pavel (President of Czechia) on the importance of unified approaches to global challenges, and looking at what we mean by ‘resilience’ and ‘defence’ in holistic ways. Directly followed by a compelling and charismatic online address from Ukrainian President, Volodymyr Zelenskyy. Although the complexity of global challenges are writ large at a summit like this, all the conversations this morning have reflected in some way on “resilience” as a force for hope

This is at the centre of Performing City Resilience. If we do not understand the arts and cultural production (across multiple practices) as strategically important to societal resilience, then we run the risk of losing sight of their power as drivers of hope, as providers of fantastical and innovative solutions to complex problems, and as means of imaging and planning for better new worlds. A utopian idea? Maybe, but our research has evidenced the strategic advantage leveraged by approaching resilience challenges with and through the arts time and again. This is not to say the arts should be put into the service of resilience – quite the opposite in fact: let’s understand artists, culture bearers, and cultural organisations as strategic resilience leaders because of the work they are already engage in… and let’s value that work accordingly.

As part of this, and in response to a fascinating panel on ‘Free Media in Resilient Cities’, I’d argue that we need to think much more strategically about the role of education in how we imagine global security going forward. Indeed, education has only been mentioned once in the panels I’ve been to today, but it must be at the core of all aspects of the questions being asked at GLOBSEC this week. In the context of free media and the challenges posed by dis- and mis-information, AI, and malign representations of multiple kinds do we not need much more carefully to think about the role of education as a critical aspect of resilience development? If we are to think strategically about the future of free media, do we not need to invest much more fully in digital literacy, the development of critical thinking and tools for the analysis of the representations we receive? Disciplines like cultural studies, digital communication, media theory and performance studies (I would say this) need to be part of the fabric of our educational strategies from primary education onwards if we are to provide the skills needed to address the resilience challenges that are posed by dis- and mis-information, state sanctioned propaganda, and unregulated or unthinking development of AI.

While possibly something of a disciplinary/industry outlier, it’s fascinating to be at GLOBSEC25 to represent Performing City Resilience and to bring forms of performance practice and analysis to the conversations here. I’m speaking on Saturday at 9.40am on the panel ‘Cultural Frontlines: An Artist’s Toolkit’ on the Albright Stage – come along if you are at the conference!

Throughout our research on Performing City Resilience in New Orleans, we have been in conversation with individuals and with organisations that engage strategically with arts, hazard mitigation, and emergency planning in the city. Such conversation is critical to our research in New Orleans, and in those cities internationally where we are ‘outsider’ researchers and do not live in places that we study.

In our March 2025 visit to New Orleans, we focused both on re-connecting with existing contacts and extending our network in the city by looking at existing and new ways in which our work may be useful to future arts and “resilience” strategies in the city, whether separately or in combination. In this vein, we held a series of meetings/workshops with:

• colleagues from departments across City Hall to explore our research on “rethinking resilience” as it relates to climate crisis, hazard mitigation, housing, and sustainability;
• a strategic consulting firm for purpose-driven organisations in the city to workshop ways of networking their projects together (to reveal the importance of the “spaces in-between”), means of understanding their work in relation to the cultural imaginary of New Orleans, and ethical processes of engagement with arts and cultural stakeholders;
• Arts New Orleans (ANO) to introduce new processes of team and individual reflection that help to find space to think strategically about the role and function of their work in the city, and from this means of identifying new strategic priorities (e.g. in funding distribution and fund raising).

Alongside these “set piece” events, we also held a number of more informal meetings to explore ways our research might be useful to new and emerging initiatives in the city, as well as making a number of site visits.

The Overflow: We Will Dream New Works Festival Kick-Off

As part of his visit, we were delighted to be invited to contribute to The Overflow, the opening event for the‘We Will Dream’ New Works Festival, at the André Cailloux Center for Performing Arts and Cultural Justice (ACC) on Bayou Road. We Will Dream is ‘the largest festival in the gulf coast region dedicated to uplifting new works by Black and African-descendant theatre makers’ and a critical platform for emerging work in the city. This year, the festival theme is ‘The Water Remembers’,

exploring the transformative power of water as a vessel of remembrance, connection, and cultural legacy. This theme is in alignment with the Katrina 20 commemoration taking place across New Orleans this year.

We have been in conversation with Lauren Turner Hines, Founder/Executive Director of ACC and No Dream Deferred since 2023, and we were honoured when Lauren invited us to contribute to the launch evening for the ACC New Works Festival – and we’re grateful to Lauren for being in conversation with us on stage for this event.

In this event, we looked back over our work in the city and ahead to our new book, Performing New Orleans: Rethinking Resilience in Art and Everyday Life, which is out in the autumn with LSU Press. Our talk (available here) was followed by a panel presentation with key arts strategists in the city: Alana Harris (Mayor’s Office of Cultural Economy), Shaddai Livingston (ASHE, Afro-Indigenous Society), Nick Slie (Mondo Bizarro), Lauren Turner Hines (Andre Cailloux Center), Joycelyn Reynolds (ANO), and chaired by Shani Peterson (The Black School).

See Folk Riot‘s review of the event here.

Art and Performance

Our trip followed soon after the Superbowl had been hosted in the city. While this posed challenges to the city, the Superbowl also led to the installation of compelling new murals. We are grateful to Arts New Orleans, which commissioned many of these works, for taking us on a tour of mural projects in the city: around the Superdome, close to the Aquarium, as part of Gentilly Resilience District, and in New Orleans East. Through this visit, we were struck by Arts Council New Orleans’ work with the Young Artist Movement (YAM) and the ways in which youth voices and artistry have been so critical to the generation of murals in the city.

Alongside murals, we were able to experience the extraordinary Super Sunday parade of Black Masking Indians through Central City. We watched Decompositions, a performance by Farm Arts Collective at Catapult (a performance centre and home to arts and cultural practitioners), we caught music at various venues, spent time at the new Broadside venue on the Lafitte Greenway, attended a basketball game, and we were invited to join a work in progress showing by Goat in the Road at BK House and Gardens in the French Quarter. Even at the point that we have a book coming out on that investigates performances of New Orleans as means to reflecting on the city, we continue to be struck by the scale, breadth, forms, and the significance of performance in New Orleans.

Although we haven’t posted for a while, Performing City Resilience has not been standing still. Since our last trip to New Orleans in June 2023, we have been:

1. Finalizing our forthcoming book, Performing New Orleans: Rethinking Resilience in Art and Everyday Life (LSU Press). The book will be out in fall 2025.

Performing New Orleans is the first full-length book to interrogate and value the vital role of arts and culture in rethinking just what we mean by ‘resilience’ and offers new perspectives on how artistic and everyday performances can be critical modes of practicing it. Emerging from performance studies, Andrews and Duggan bring together ideas from art and architecture, cultural geography, hazard mitigation, resilience theory, sustainability, theater, and water management to explore “performances” of the city that radically expand understandings of resilience in New Orleans, and internationally.

2. Developing a new seam of work on ‘whole society resilience’, a critical strategy that is employed in varying forms internationally, and which is core to the UK Government Resilience Framework.

We presented our initial research at the 30th anniversary conference of the Emergency Planning Society and shared this with emergency and resilience professionals in an article in the industry publication, Crisis Response Journal (2024). We addressed the ways in which performance, and the arts more broadly, contribute to whole society resilience in an article for cultural geographies (2024):

“Performance approaches to whole society resilience” In this article, we reflect on the ways in which arts practices can contribute productively to national resilience strategies. We focus particularly on the UK Government Resilience Framework (2023, UKGRF) which calls for a ‘whole of society’ approach to resilience, echoing established initiatives addressing ‘whole community’ (USA) and ‘total defence’ (Sweden, Switzerland). In this context, we ask what performance research methods offer to understandings of whole society resilience, and how existing artistic practices ‘perform’ resilience in ways that are currently not accounted for. The arts, we argue, are a nuanced means of attending to complex geo-political contexts that allow space for legacies of racism, sexism, poverty, colonialism, and terrorism to be revealed as having (had) important and differing influences in shaping the resilience of varied communities within society. The UKGRF offers a compelling opportunity to think about what whole of society resilience might involve, who might already be engaged in this work, and how we might develop and maintain a robust ‘whole of society’ approach to contemporary resilience challenges. We discuss Through my Window, a community outreach project run by the Citizens Theatre, Glasgow (UK), mural painting in New Orleans (USA) that offers positive, joyful images of individuals in a city that is too often read through narratives of tourism and crisis, and Remembering a Future (London (UK), 2018), a live performance in which Aman Mojadidi addressed issues of race, identity, home and terrorism. In so doing, we argue that artists, arts organisations and arts communities need to be considered vital, strategically important resilience practitioners, and that the arts should be being taken seriously as an engine of societal resilience more broadly. Full open-access article available here: https://journals.sagepub.com/doi/10.1177/14744740241298970

3. Testing new ideas, we have also written a piece for Liminalities: A Journal of Performance Studies, entitled ‘Political Public Art: A Performative Response to Crisis’.

4. Preparing for networking and research impact development in New Orleans. In March 2025, we are returning to New Orleans to continue our work with resilience and arts professionals across the city, as well as undertaking field research for future publications. We will be updating the news feed with information on our activities and findings while we are there.

We arrived at the Jazz Museum just after eleven in the morning. It was a Saturday and the French Quarter was busy. This wasn’t entirely a surprise, it is a popular area with visitors to the city. Yet the effect was heighted with two festivals in close proximity, RiverFest at the Museum and the Creole Tomato Festival at the nearby French Market. Festivals have become critical means by which cities draw in visitors, revealing or introducing distinct aspects of a place, and limiting any singular version of that place. Here, in the growing crowds between these apparently unrelated events, we became aware of the ways in which a relatively small area of a city can be simultaneously framed by quite different festivals at the same time. We noticed an echo between the independent stalls that were gathered together in the covered French Market, and the independent festivals situated in the French Quarter. 

RiverFest celebrates ‘the cultural, economic, environmental & inspirational impacts and contributions of the Mississippi River to the Crescent City.’ (https://www.nolariverfest.org/river-fest). This was the eleventh year of the festival, a day-long event which included ‘live music, presentations and panels, walking tours, delicious local food vendors and a full bar, and more’ (Ibid). The festival brought together practices and perspectives on the river. While it was held at the Jazz Museum, and while this year the theme was the Delta Blues, the remit of the event extends beyond music alone, speaking to the multiple ways in which the river is understood in the city and the Gulf South. Set just a short distance from the river’s edge, the Museum is well placed to welcome inhabitants and out-of-towners to gather and reflect on the Mississippi. 

This was the first festival we had spoken at in the city, and we were pleased to have a chance to share our emerging research with the public. As we set up for our talk, we watched the arrival of performers who had launched RiverFest at Jackson Square, before leading a ‘second line’ to the Museum gardens below us. We were struck by the contrast of setting up our Powerpoint in a top floor room, while below, the Treme-Lafitte Brass Band, the N’Awlins Baby Dolls, and the Original Wild Tchoupitoulas Indians gathered at the outdoor festival stage below. Close by the Museum and festival entrance, a crawfish boil was being set up. Audience members arrived in the room, we chatted a little, time ticked toward noon, and we turned away from the window to begin. 

Our talk focused on artistic and everyday practices of ‘living with water’, a phrase that has become increasingly familiar in academic literature and professional practice. There is something positive, possible about ‘living with’ water, although we are aware that life ‘with water’ is not always so positive. Relatedly, in the talk, we noted the interest in blue/green architecture and design, in which places are increasingly being developed or adapted to manage water, to slow its course, and limit flooding. In this context, we introduced and reflected on ways in which artists in the city, and everyday practitioners of the city, have helped advance understandings of living with water in the metro area and in Greater New Orleans. 

From venues such as Music Box Village and Studio in the Woods, to artworks including Rising Tables and Float Lab, to everyday negotiations of water, and water management strategy, we considered ways in which people in the city are revealing new means of understanding, practising, and managing water. While we framed our work in terms of water, rather than the Mississippi alone, the work of preparing the talk allowed us to discover and trace the significance of the river to our forthcoming book as a whole. We made a note to look for other such aspects of the city and region that exist in the emerging book but that aren’t mapped in the list of chapters. 

In conversation with participants after the talk, we discussed the ways that the arts addressed the pandemic, we considered the limits to definitions of the city, and spoke of the value of thinking about New Orleans in the context of the Delta, region, and state. We shared our concerns about any use of the arts to appear to ‘fix’ resilience challenges, pointing more to the ways in which arts practice may reimagine challenges, and the ways these understandings can be placed in productive dialogue with resilience initiatives. Time moves quickly and soon enough we’re back outside, amid the music and dance of the garden. We’re grateful to the organisers of RiverFest for programming our panel and to our spectators for their generous reflections on the work. 

“Who folks do trust and hold in esteem and look up to for social guidance are the artists and culture bearers—the people in the community who make music, who make Indian suits, who are chefs and culinary artists or poets, spoken word artists, singers.”  (Asali DeVan Ecclesiastes, our emphasis)

On the evening of Tuesday 6th June, we strolled from our apartment in the Warehouse District to Catapult, a multi-arts and incubation space on St Ferdinand Street, where the Marigny meets the Bywater. A warm, sunny evening with the threat of rain seemingly passed, we were pleased to be walking. Our two-mile route paralleled the curve of the Mississippi and skimmed the edge of the French Quarter, and while we passed businesses and bars, we only caught glimpses of the river’s edge; the city seemed quiet, the streets fairly empty. This was reflected back to us the next day as ‘the great exodus’ having begun – some folks annually vacate the city in the summer to avoid the most intense heats.

Despite the quietness of the streets, a crowd of 20–25 arts and indigenous cultural leaders, organisers, and cultural advocates have gathered at the venue for our event: ‘Pandemics: Performance as Response and Refamiliarization’. The event began casually, through the breaking of bread and sharing some wonderful food from a caterer called 1000 Figs. As people make up their plates, wise words from the then Director of the CAC Neil Barclay shared with us on the first day of our first trip in 2018 come back to us: that food is essential when gathering people together in New Orleans.

The Covid-19 pandemic hit New Orleans hard, the consequences and aftereffects of it are still being processed: despite the pandemic being declared ‘over’ by the WHO, it is of course still a lived reality for many in this city (and globally). It is not over in anything but a technical sense, a sentiment that reverberates in the room as we share our research.

In this event, we offered reflections on ways that arts and culture matter in the unfolding emergency of a pandemic. Not least in this, is the way that arts and cultural leaders are very often trusted voices in many communities, especially in New Orleans (as the Eccelsiastes citation above reflects). More broadly, while the pandemic had global impact and changed arts and everyday practices, arts practitioners and organizations turned to face the pandemic in dynamic and meaningful ways with incredible speed.

At the same time, emergency planners globally turned to the Disaster Risks Management Cycle in conceiving their responses to the crisis. But, we suggest, the neatness of the ‘Mitigation – Preparedness – Response – Recovery’ cycle fails to account for the complexity of lived experience in a given place, at least conceptually. This is particularly the case in an ‘extended’ crisis that unfolds over some years.

In the talk at Catapult, we reflected on the ways that the pandemic is not a swift nor neat event that can be easily compartmentalized; ‘response’ and ‘recovery’ in particular are messy categorizations, to say nothing of how we might recognize when we move from one to the other. As such, we need new ways of thinking and new forms of practice in the face of events like pandemics: performance might offer new insights towards this.

Offering reflections on multiple performances that happened in the city responding to the pandemic, we argued that performance and cultural practice offered means of ‘rethinking’ the pandemic (and thus practices of emergency management) and afforded opportunities to think in new categorizations that might be seen to sit across and between those of the DRMC. We reflected on the usefulness of practices that point to the usefulness of Remembering & Reminding, Refamiliarizing & Rethinking.

As organizations and individuals ‘flexed’ with the unfolding of the pandemic, so they offered innovative means of understanding how to live productively within that context. Goat in the Road’s Scavenger Hunt offered means to test what it was to be back on the streets after so long, to refamiliarize the street performance practices so central to life here. The city’s #SleevesUpNOLA vaccination campaign deployed the cultural vernacular of the city to encourage vaccination uptake in terms familiar to local residents. Remembering the city’s cultural performance practices and reminding folk how they might once again be part of daily life. Ashe Cultural Art’s Centre’s multi-form response to the pandemic through public health work, redistribution of food and finances, cultural organizing and performances of place and identity in things like I Deserve It! offered multiple perspectives on the crisis that enabled a rethinking of how people might attend to the complex context at play. In so doing, Ashe, we argued, offered a site-specific performance of place that echoed Arielle Julia Brown’s call for ‘Black site-specific performance artists must think about how to mobilize community, build through creative coalitions, and reaffirm our histories and rights in public spaces’ (2017, 238-239).

All these works offer nuance and a messier understanding of how a crisis unfolds and is managed. It was a privilege to share our research at Catapult, and to converse with a brilliant group of generously critical colleagues from across a range of disciplines, practices, perspectives and communities in the city. In particular we are deeply grateful for reflections on critical issues in the city, and prompts to think further about:

• Means of documenting cultural responses to the pandemic to network ideas together. How might this reveal the power of cultural networks and map the importance of transdisciplinary practices and thinking?
• How might we problematise ‘recovery’ as ‘an essential good’, how might we move from recovery to positive, equitable and genuine transformation?
• Where is the social justice in systems of emergency planning and resilience?
• How do we account for grief and trauma in contexts of response and recovery?
• In what ways can we account for and celebrate indigenous practices of medicine making and herbalism in contexts of pandemic response? How might we expand understandings of performance in doing this?
• In the context of the infinite complexity of the cultural economy of New Orleans, how can we think productively about ‘recovery’ and problematise the neoliberal logics of resiliency in so doing?

Next up: RiverFest, 10th June, 12 – 1pm: ‘At the River’s Edge: Performing Water in New Orleans’

On Saturday 3rd June, we presented research from our forthcoming book at Docville Farm in St Bernard Parish. Passing through the industrial landscape of refineries, auto shops, and railroads, the lush green of the Farm and the surrounding area is striking. Presenting in a meeting room on the fourth floor of the Farm’s main building, the view revealed new (for us) perspectives on the land, the water and the city – and the interrelation of these.

The event afforded opportunities for discussion and reflection on ideas of performance, place and resilience through the lens of ‘situation rooms’. In conversation with an audience of St Bernard residents, artists, film makers, coastal and environmental resilience professionals, and representatives from the Meraux Foundation’s board, we explored the critical potential for cultural spaces, like Docville Farm, and the Foundation’s St Claude Arts a few miles away, to productively recalibrate understandings of resilience, place, and identity.

For us, Docville Farm is a ‘situation room’ insofar as it brings in information from multiple sources and perspectives, reflects on and processes it, and uses this to make strategic decisions about (and reveal new practices concerning) the interrelation of place, land stewardship, agriculture, water, people, and education. This in turn affords a strategic opportunity to interrogate and rethink the understandings of the relation between ‘the city’ and its near neighbours (especially for Meraux, St Bernard Parish), and of course the Mississippi. In this work, Docville, and the Meraux Foundation more broadly, is staging a long-form conversation and innovative exchange between arts, land stewardship practices and globally important environmental sustainability questions.

It was a privilege to share our research at Docville Fram, and to engage in such a rich and generous conversation about our work in relation to theirs. Next up: Catapult, 6th June: ‘Pandemics: Performance as Response and Refamiliarization’

This June (2 – 11^th) we are back in New Orleans to share thinking from the book we are writing on the city, Rethinking Resilience: Performance Practices of Contemporary New Orleans (LSU Press, for submission Sept 2023). We are doing this through 1-to-1 conversations, small group meetings/workshops, and larger public events where we will share chapters of the book to share our emerging ideas with arts, culture and resilience stakeholders and the public.

In coming back to the city, we are hoping to come good on our commitment to move beyond, or at least to avoid inadvertently perpetuating, extractive research practices that have previously been an issue in writing on the city. That is, this work only exists because of our continued ‘conversation’ with the city: engagement, generosity, and challenge from the people and organisations who live in the city we are researching is vital to the work we do and it usefulness in the world.

On this trip we are having conversations at:

Docville Farm: 2^nd June, 10.30am – 1pm – ‘Rethinking Resilience: Contemporary Performances of New Orleans’

Catapult: 6^th June, 7 – 10pm – ‘Pandemics: Performance as Response and Refamiliarization’

RiverFest: 10^th June, 12 – 1.30pm – ‘At the River’s Edge: Performing Water in New Orleans’

American Society for Theatre Research (ASTR) conference 2022

Plenary Panel: Friday 4th November 2022, 3.30-4.45pm

We’re looking forward to revisiting New Orleans next week to co-chair a plenary panel of key voices from arts and resilience in the city, for the 2022 ASTR conference, which is being held in the city. We’ll invite our panellists to reflect on the importance of performance to understandings and practices of the city, and we’ll think through some of the challenges of narratives that romanticise and catastrophise New Orleans.

Click here for details of our panelists and here for the conference schedule for the day.

On 20^th February 2022, we went to the intersection of Girod Street and St. Charles Avenue to watch the Krewe of King Arthur roll by. A little daunted by the aggression of some of the throwing of throws we witnessed on Canal Street earlier in the day, we approached with some trepidation (though Patrick was intent on getting a branded throw for is son, Arthur). As we approached, it became clear that the atmosphere here was much different to that on Canal Street: families were gathered, conversation was flowing and people were helping each other to catch and collect throws.

A few minutes after arriving, we noticed three girls across the street trying to attract the attention of those opposite. Making eye contact, they bounced small bouncy balls across the street when the parade came to a halt every now and again. This became an ongoing means of communication across the space; a silent performance of community, joy and collaboration evolved over the next couple of hours. Hand signals, reaching to catch, eye contact, pointing, occasional vocal calling and much laughing came together to create a conversation between strangers; the girls and (what we took to be) their parents on one side, a slowly rotating/changing group of parade goers of all ages on the other. There was no hierarchy, no competition. The game was inclusive, spontaneous and joyful; participants laughed, feigned exasperation if a catch was missed, and actively looked to reengage one another if the conversation was interrupted by the passing of floats or marching bands.

An elderly couple dance on a balcony opposite our position. They laugh with one another and with those in the crowd who spot them and dance ‘with’ them from the pavement. They, and we, sing to familiar lyrics played by passing trucks or brass bands. These performances create and enact communitas; people are brought together through joyful practices that encode a sense of (perhaps temporary) belonging, equality and understanding. This is an experience of being together in time and space, of being part of something bigger than one’s self. Though perhaps an idealised reading of carnival – and one that needs more critical attention to some more problematic gendered representations of sex, sexuality and race, the performances on Girod and St Charles suggest means of understanding the political potential of carnival beyond its excessive consumption and histories of segregation.

This impromptu community of participants cut a striking difference to the seeming aggression of earlier encounters between parade goers and float riders. The ball game seemed, by design or accident, to enable revellers to participate in the embodied experience of carnival with a greater degree of connection to one another, rather than clamouring for only for the ‘magnificence’ of receiving a particular set of beads, a doubloon or two, or a sought-after handmade gift. This social performance lent weight and clarity to the experience: carnival became visible as an opportunity to connection across race, class and age lines.

Preparing to travel internationally for the first time in two years, in a global pandemic, has been an anxious time. I have been concerned both about a last minute COVID-19 infection scuppering the best laid plans of this research trip (some 12 months in the planning and execution), and about catching the virus while abroad. The former manifested in self-imposed isolation in advance of the trip. The latter continues to guide how it feels to be in another country, at a busy time in the Crescent City.  

Reflecting on the historical development of airport buildings and importance of architectural design to the embodied experience of travel, geographer Peter Adey argues that historically airports offered means of building and experiencing civic and national identities. He suggests that they held a role beyond their travel function:

Airports were places to not only travel through but places to travel to and, importantly, view from… It is vital, therefore, that the contemporary fascination with such sites should not release the airport terminal from its historical role as builder and purveyor of interest and identity (2008: 44)

I like airports. I have always been struck by the strangely out-of-time experience of them, the potential of the journey ahead, the excitement of travel. This is not to ignore the climate emergency and the problematic role air travel plays in this. And so, arriving at Newcastle International Airport I am struck by the familiarity of the experience: the mundanity of processes and practices of the place, and the way that transitioning through the liminal space of the airport seems ‘in’ my body. The process is like picking up a highly practiced hobby after a long break: I am rusty, but it comes back swiftly. 

The mundanity of the experience and the ease with which I slipped into the practices of the space – belt removing, coin searching, laptop placing, arm lifting, belonging scooping, screen scanning – served to alleviate the anxiety of the build-up. (The negative lateral flow test that enabled me to engage in the practice of airport transition may have helped too, of course). I found a near empty bar, bought a beer, sat by a window overlooking the airport apron and turned to my laptop to work. 

After an hour or so, I glanced up and spotted a bight dot on the horizon. As the plane approached the runway, its wings see-sawed quite violently but the plane landed safely, and I thought little of it. My wife messaged shortly thereafter: “So windy”. I boarded the flight and buckled in; as we taxied for take-off the captain mentioned it was a bit blustery so there may be some turbulence but, in the end, take-off was uneventful and the flight smooth. 

Cutting through the clouds as we came in to land, the mood on the flight changed a little as the clouds darkened and the plane began to be buffeted by the wind. The wheels came down and we approached for landing; the plane was see-sawing and being pushed around. Maybe 15 feet from the tarmac a gust hit the plane and suddenly we were pushed back into the seats, the pilots making the engines roar as we accelerated hard and lifted in a steep climb away from Heathrow.

A sharp bank to the left felt as though the wings were almost vertical (they weren’t, of course) and the turn was prolonged; there was complete silence for a few minutes until the captain’s calm announcement: ‘Sorry about that Ladies and Gentlemen, we got hit by a pretty big gust as we came in to land there and so performed what we call a “missed approach”. We’ll come around now and try again…’ 

I realise how tightly I have been holding the seat in front of me. This was not so much ‘in my body,’ though the experience of it was powerfully embodied: I braced muscles, uncrossed my legs, planted my feet on the floor, pressed my back into the seat, gripped the seat in front of me. The ‘fight’ between the embodied experience and the desire to hold on to the logic of flying as safe and trust in the pilots’ skill was pronounced, particularly when coming in to land the second time.  

The missed approach reminds me how strange it is to be travelling again after more than two years of pandemic restrictions; it asks questions about risk and research travel. It is all too easy to look at research fieldwork in New Orleans, the ‘Big Easy,’ the ‘Birthplace of Jazz’, and think of fun, frivolity, and hedonism. As the Beyond Borboun Street podcast recognises, the importance of tourism to this city means that it is forever at risk of being defined through a particular set of restricted and reductive practices and understanding.  

However, Adey’s argument that airports hold a bigger function than might be first apparent makes me thing about how this is a city that can reveal new understandings of performance and resilience. We have known this since before our first PCR visit in 2018, but Covid-19 and Hurrican Ida have again raised the prospect that New Orleans’ performance cultures afford ways of thinking about place and crisis that can impact understandings internationally. 

Nevertheless, the jet-lagged early mornings (even on day 4 as I get set to publish this blog), asks questions of what the embodied experience of travel might reveal about ways of thinking and being in a place, far from home and catapulted there as such speeds that the body cannot really process it. This then might ask us to be particularly attentive to how we balance the positive impact of our work (we know, for instance, that our research influenced Covid-19 responses in the city) against the pressure is places on our families and on the planet.  

It is February 2022 and we are back in New Orleans to research intersections between performance and emergency preparedness. One of the prompts for this trip, as well as re-engaging in longterm conversations with the city, was our sense that New Orleans has been and continues to be extraordinarily impacted by the pandemic. Indeed, the city feels different this time – businesses that were once thriving and seemed powerfully secure have closed, practitioners have lost their livelihoods and public health has struggled to keep up with the pressures of the virus. Yet, at the same time, as we argue in our interim report Performance and Pandemic Response: Invitations to Innovate, with the #SleevesUpNOLA campaign the city has responded with creativity, skill and performative acumen to the challenge. So, in part, on this trip we are interested to explore New Orleans’ processes and practices of pandemic response.

During our time in New Orleans, we are meeting with arts, culture and hazard mitigation professionals, surveying key sites in which arts and culture bearers have addressed the pandemic and other challenges that have arisen since the last time we were here. We will feed back our findings to colleagues in the city and also in the UK and internationally, to demonstrate specific ways in which arts and culture enable new and vital means of pandemic response. 

As part of our ongoing AHRC-funded project Social Distancing and Reimagining City Life, we expect to publish this work in briefing and policy documents that we hope will inform ongoing responses to the pandemic, and to planning for future responses to public health challenges. Indeed, it was gratifying to hear from the current Hazard Mitigation Administrator, Austin Feldbaum, that our research to date has informed and led to innovations in the city’s pandemic response strategy (conversation with investigators, 18 February 2022).

The work will critically inform our ongoing publications on the city, significantly a co-authored book we are developing with LSU Press to rethink city resilience through performance cultures in the city of New Orleans. In this book, we address the ways that challenges in a city are rarely neatly delineated. Of course, Covid-19 is a major and ongoing frame to thinking about city resilience at this time; but equally, New Orleans continues to grapple with the climate emergency, with underlying ‘stresses’ of race and economic inequity, and emerging ‘shocks’ such as Storm Ida (August 2021) that the city is still actively engaged in recovering from.

We are in New Orleans from 17th-25th February. If you are engaged in thinking through or responding to Covid-19, or other such ‘resilience’ challenges, through arts and culture, emergency or resilience planning, or public health in or beyond the city, and you would like to be involved with this work, we would love to hear from you.

In case you’ve not yet had a chance to engage with our interim project report, and we wholly encourage you to do so, we thought it may be helpful to distil some key findings from it here. The report focuses specifically on how arts practices in cities can be useful to future pandemic emergency preparedness and response.

In the report, we have identified five key emergency challenges that arts are already engaged in addressing:

1. Reach communities in and across a city.

2. Re-work city spaces for safe public access.

3. Engage local populations with key public health messages.

4. Manage perceptions of life during Covid and of vaccination.

5. Connect people to alleviate isolation.

In addressing these challenges our research finds that:

* Covid-19 has underlined the vital role arts practitioners play in identifying and responding to local and city challenges both creatively and at speed.

* The pandemic reveals, starkly, the lack of channels of communication between academics and professionals in the arts and in emergency and resilience management.

* To understand how the arts comprise pandemic response, we need to resist conventional and often simplistic definitions of arts practice.

* Arts venues offer strategic engagements with communities that can be beneficial to sustaining social distancing and communicating its importance at city level; this affords connections and relationships not always available to municipal structures. Emergency planning processes, policy and practice can account for this in pandemic planning and physical distancing strategy.

* ‘Signs don’t work’ but performative interventions in city spaces can. Artists can make strategic, local interventions into city spaces that enable communities to practice social distancing in more sustainable and sustained ways.

* City council emergency planning policy/strategy does not (generally) join up with cultural strategies, missing an opportunity for more nuanced understandings of places in emergency contexts.

* Performance can reveal how places work in the context of their urban politics, as experienced by people in those places; experiences which elude clear articulation in written texts such as, in this context, policy guidance.

* We need more properly to understand signs as cultural artefacts, as a critical part of the place in which they are situated, speaking to people who use that place. We thus we need to develop messaging that directly addresses those people, encouraging and enabling them to incorporate restrictions into their daily experiences and modes of being in the city.

There are more challenges and more means of response – we invite you to share your thoughts on this or examples of interesting cultural practice addressing the ongoing Covid-19 pandemic with us here.

The full interim-report can be found here.

Our Crisis Response Journal article can be found at https://www.crisis-response.com/Publisher/Article.aspx?ID=618551.

It has been a while since we last posted on what we have been up to and what the next steps will be. So, here’s a bit of an update:

From June to August, we conducted research fieldwork in all of our case study cities for our AHRC funded project ‘Social Distancing & Reimagining City Life’ (responding to COVID-19). Having conducted this work in Bristol, Glasgow and Newcastle, we wrote and published our initial findings and reflections. A short article for Crisis Response Journal outlined our project and findings to-date. This was distilled from our fist project report ‘Performance as City Pandemic Response: Innovations to Innovate‘.

These publications share our research findings and open up conversations with colleagues from across arts and emergency planning. We are seeking innovative new approaches to cities’ emergency challenges. The work invites new ways of thinking across and between professional practices in arts, resilience and emergency planning. We hope this opens up dynamic ways of thinking through questions of place, the pandemic, and urban resilience.

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Ideas from these publications will form the foundations of the next phase of the project: interdisciplinary workshops to develop practical ways of using our research. We’ll work with colleagues across our case study cities, and beyond. Details of these free workshops will be forthcoming in October and early November. If you might be interested to be in conversation with us, please do get in touch. Both the publications are open access and available via the links above, or through our Publications page.

Some other things:

– On 15th October, we are sharing our work to an interdisciplinary audience at Pervasive Media Studio (Bristol). The event is open to all and will be an opportunity for conversation about the work in an open and welcoming environment (online or in-person). Find our more here: https://www.watershed.co.uk/studio/events/2021/10/15/art-and-performance-pandemic-response.

– We are continuing to develop our climate emergency focused Albuquerque project. We hope to be able to share more concrete news on this very soon.

It’s just after eight in the morning on our last day in Glasgow. The early light is greying a little with cloud. On the street below our apartment, a man slips the collar from his dog and it runs on ahead. People are out, walking, cycling, but there are long moments when the streets are noticeably empty. A man walks past at a steady pace. He wears a temporary mask under his chin. We’ve seen this before in our past days in the city, it seems smart, allowing people to raise or lower their masks easily when going in and out of buildings. It is a sign that people are going in and out of places, which itself marks a particular stage in the slow, staggered process of unlocking. It is a trick, a technique, smoothing one’s journey through a city. In contrast, we have become acutely aware that our practice of finding and fixing masks at entranceways resembles something of an operation.

We realise, of course, that this small practice is not likely to be happening only here. We remind ourselves that we see little of the world at present, and that our lives as researchers, our daily understandings of places, and our restricted movement in and between places, will inform our reading of the cities in and with which we are working on this project. While it may be a familiar practice here and elsewhere, that seems likely to reflect the cultures and practices of those places. Chandini Raina MacIntyre et al. reflect on the significance of mask wearing in ‘countries without a culture of mask wearing’ (2021, p.200). In these contexts, they found that ‘negative issues experienced while wearing masks reduced the likelihood of people wearing them’ (ibid. p.205). Practices that reduce these issues may well reveal a route to more-sustained mask use and more sustained engagement with the population-based responses to the pandemic that are so critical to containment. We watch the street a while longer, caught by the significance of these small individual practices and the significance of smoothing the interruptions of the pandemic for sustaining city life.

As we come out of our first field research in Glasgow, we’re developing two pieces of academic writing about interventions into city thinking that emerge from the work of arts organisations. Where one will look at ways in which arts programming might be useful to city emergency planning, the other will focus on the ways in which specific artistic and everyday practices in cities invite us to reimagine social distancing in those cities and beyond. Alongside these articles, we will share an emerging data-set that reports on artistic practices and programmes in Bristol, Glasgow and Newcastle, which are about or which have directly responded to the pandemic.

Reference

Chandini Raina MacIntyre, Phi-Yen Nguyen, Abrar Ahmad Chughtai, Mallory Trent, Brian Gerber, Kathleen Steinhofel, Holly Seale (2021) ‘Mask use, risk-mitigation behaviours and pandemic fatigue during the COVID-19 pandemic in five cities in Australia, the UK and USA: A cross-sectional survey’, International Journal of Infectious Diseases, 106, pp.199-207.