RE: pedagogy – after neutrality

Within the UK and in many parts of the world, official accounts of what it is to make sense of religion are framed within a rhetorics of neutrality in which such study is premised upon the possibility of dispassionate engagement and analysis. This paper, which is largely theoretical in scope, explores both the affordances and the costs of such an approach which has become ‘black boxed’ on account of the work that it achieves. A series of new orientations within the academy that are broadly associated with post-structuralist philosophies, feminist and post-colonial studies, together with insights from Science and Technology Studies, question the plausibility of these claims for neutrality whilst in turn raising a series of new questions and priorities. It therefore becomes necessary to re-think and re-frame what it is to make sense of religious and cultural difference after neutrality. The gathering and co-ordination of new planes of sense-making that are responsive to an emergent series of epistemological, ontological, and ethical orientations are considered. Some of the distinctive pedagogical implications of such an approach that engages material practice, difference and uncertainty are then entertained

Raising the ghosts of justice: Staging time and the memory of Empire in The Trial of Governor Eyre

I examine the staging of time, justice and performance in The Trial of Governor Eyre, investigating what this site-specific performance reveals about the experience of time in the context of colonial violence. In doing so, I show that the work’s discourse on temporality reflects a vital sense of performativity within an Afro-diasporic context. The work’s use of temporality, besides reflecting a cultural adaptation, allows for a remoulding of forms, coupling law and theatre in confronting Eyre’s mass executions of 1865. This remoulding of forms (law as theatre, theatre as law) provides a potential for postcolonial witnessing not available when either performance protocol is used on its own. Using Blazevic’s and Cale Feldman’s concept of ‘misperformance’, I argue that this play-trial arises out of a Benjaminian sense of historicity, providing an experience of inchoate justice that finds fulfilment in the present. The Trial of Governor Eyre points, more broadly, to a new ‘problem-space’ in African diaspora political theory, where resistance against colonial structures of oppression is increasingly mounted on the ground of justice itself and through which the legal apparatuses of colonialism become a site of critical memory. Through the play’s deployment of ritual and its plastic moulding of time, 1865 is enlisted as a key historical conjuncture for thinking through the cultural disenchantment of race, but also of the formalist, creative resources that can be mobilised for reimagining humanness in the contemporary moment