theguardian.com
Cardinal's Confrontational "As You Like It": A Critique of Land Acknowledgments
Cliff Cardinal's Edinburgh Festival performance, a deconstruction of As You Like It, criticizes the inadequacy of land acknowledgments as substitutes for reparations, using humor and anger to confront Britain's history of violence against Indigenous peoples and the limitations of allyship, while provoking audience discomfort.
- How does Cardinal's use of humor and anger contribute to the overall message and impact of his performance?
- Cardinal's performance connects the superficiality of land acknowledgments to broader issues of systemic racism and the ongoing oppression of Indigenous communities in Canada and beyond. He uses the discovery of Indigenous children's remains at school sites as evidence of this ongoing violence, highlighting the limitations of performative allyship.
- What are the central criticisms of land acknowledgments presented in Cliff Cardinal's performance, and what immediate implications do these criticisms have for discussions about reconciliation?
- Cliff Cardinal's "radical retelling" of As You Like It at the Edinburgh Festival is a confrontational performance deconstructing land acknowledgments, criticizing their emptiness as substitutes for reparations. The show, similar in style to Hannah Gadsby's Nanette, uses humor and anger to address Britain's history of violence against Indigenous people and the inadequacy of allyship.
- What are the potential long-term consequences of Cardinal's confrontational approach to addressing historical and systemic injustices, both in terms of achieving reconciliation and fostering productive dialogue?
- Cardinal's work suggests a future where performative gestures of reconciliation are replaced by substantive action. The show's confrontational style indicates a shift away from polite dialogue towards demanding accountability for historical and ongoing injustices against Indigenous populations. The lack of universal understanding at the Edinburgh Festival highlights the need for a more globally aware approach to addressing colonialism's legacy.
Cognitive Concepts
Framing Bias
The framing of the review is largely negative, emphasizing the play's confrontational nature and the audience's discomfort. While acknowledging some positive aspects ("hard truths"), the negative framing dominates, potentially influencing the reader's overall perception. The headline itself, if there was one, could significantly impact this framing.
Language Bias
The review uses strong, emotive language ("howl of pain and anger," "disgruntled festivalgoer," "wired, angry") to describe the performance and its reception. While evocative, this language may be considered subjective and lacks neutrality. More neutral alternatives could include: "intense emotional expression," "audience members leaving," and "passionate delivery.
Bias by Omission
The review focuses heavily on the audience's reaction and the performance style, neglecting a detailed analysis of the play's content and structure. While the review mentions "hard truths" about systemic subjugation and racism, it doesn't elaborate on specific examples from the play itself. The lack of detailed plot summary or thematic analysis constitutes a bias by omission, potentially limiting the reader's ability to form a complete judgment of the play's merit.
False Dichotomy
The review presents a somewhat false dichotomy by contrasting the play's style with traditional Shakespearean interpretations, implying that either it conforms to those traditions or it is a radical departure. It doesn't fully explore the possibility of a nuanced approach that blends elements of both.
Sustainable Development Goals
The performance confronts historical injustices and systemic racism, contributing to raising awareness and potentially fostering discussions about inequality. The show directly addresses issues of Indigenous rights and systemic oppression, which are central to reducing inequalities. By challenging the audience's complacency and prompting uncomfortable conversations, it indirectly contributes to positive change.