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Not At Home

The Affective Labour of Repealing the 8th Amendment

Bibliographic Data

ID18948686
AuthorsShonagh Hill (0000-0003-4753-9065, Queen's University Belfast, corresponding author)
Year2022
Volume6
Issue1
Pages10
Publication date2022-03-01
Open AccessYes
TypeARTICLE
VenueFeminist Encounters A Journal of Critical Studies in Culture and Politics (JOURNAL)
Journal identifiersISSN: 2468-4414 • E-ISSN: 2468-4414
PublisherLectito BV (PUBLISHER)
DOI10.20897/femenc/11754
OpenAlexW4214944640
LanguageEN
References cited7

This article analyses the durational art campaign, Not At Home, through the lens of affect theory in order to explore how performance moves us: physically and emotionally; individually, but also socially and collectively. First performed in 2017, Not At Home, created by Grace Dyas (THEATREclub) and Emma Fraser (Nine Crows) focuses on the journey to Britain from Ireland undertaken by abortion-seeking women. Following a referendum in 1992, the right to travel for an abortion was inserted into the Irish Constitution, and thus it became legal for Ireland to export the need for abortion services. Not At Home draws on women’s testimonies of their journeys to communicate the lived reality of the 8th Amendment as told by those who have experienced the consequences. The recreation of the journey through performance is, the article argues, best understood through affect theory. The analysis explores the affective labour undertaken by the audience, to quote Sara Ahmed, of ‘moving and being moved as a form of labour or work, which opens up different kinds of attachments to others, in part through the recognition of this work as work.’ (The Cultural Politics of Emotion)

Abortion · Affect theory · Constitution · Emotional labor · Feeling · Irish · Media studies · Political science · Politics · Recreation · Referendum · Sociology · Gender Studies · Hannah Arendt's Political Philosophy · Law · Posthumanist Ethics and Activism · Psychology · Social Psychology · Theatre and Performance Studies

  • Utopia in Performance

    Jill Dolan•Utopia in performance•2005

  • Happy Objects

    Sara Ahmed, Sara Ahmed Sayed Ali•The affect theory reader•2010

  • Four Pieces on Repeal

    Open Access•Máiréad Enright•Feminist Review•2020

  • The Affect Theory Reader

    Melissa Gregg, Gregory J Seigworth•The affect theory reader•2010

Highly citedNo

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