Using a performance studies lens, this book is a study of performance in the post-9/11 context of the so-called war on terror. It analyzes conventional theatre, political protest, performance art and other sites of performance to unpack the ways in which meaning has been made in the contemporary global sociopolitical environment.

Using a performance studies lens, this book is a study of performance in the post-9/11 context of the so-called war on terror. It analyzes conventional theatre, political protest, performance art and other sites of performance to unpack the ways in which meaning has been made in the contemporary global sociopolitical environment.

The war on terror has been raging for many years now, and subsequently there is a growing body of literature examining the development, motivation and effects of this US-led aggression. Virtually absent from these accounts is an examination of the central role that gender, race, class and sexuality play in the war on terror. This lack of attention reflects a continued resistance by analysts to acknowledge and engage identity-related social issues as central elements within global politics. As this conflict spreads and deepens, it is more important than ever to examine how diverse international actors are using the war on terror as an opportunity to reinforce existing gendered, raced, classed and sexualized inter/national relations. This book examines the official war stories being told to the international community about why and against whom the war on terror is being waged. The book will benefit students, scholars and practitioners in the areas of international relations, women's studies and cultural studies.

‘This work goes where other books fear to tread. It reaches the parts other scholars might imagine in their dreams but would neither have the international reach nor the critical acumen and forensic flourish to deliver.’ Alan Read, King's College London ‘This book is not only timely. It is overdue – and it is a masterpiece unrivalled by any book I know of.’ Erika Fischer-Lichte, Freie Universität Berlin ‘The first and only book that focuses on the intersections of performance, terror and terrorism as played out beyond a Euro-American context post-9/11. It is an important work, both substantively and methodologically.’ Jenny Hughes, University of Manchester ‘A profound and tightly bound sequence of reflections ... a rigorously provocative book.’ Stephen Barber, Kingston University London In this exceptional investigation Rustom Bharucha considers the realities of Islamophobia, the legacies of Truth and Reconciliation, the deadly certitudes of State-controlled security systems and the legitimacy of counter-terror terrorism, drawing on a vast spectrum of human cruelties across the global South. The outcome is a brilliantly argued case for seeing terror as a volatile and mutant phenomenon that is deeply lived, experienced, and performed within the cultures of everyday life.

Considers the principal members of Coalition of the Willing in Afghanistan &Iraq: the United States, Britain & Australia. Despite significant cultural, historical and political overlap, the War on Terror was nevertheless rendered possible in these contexts in distinct ways, drawing on different discourses, narratives of foreign policy, identity.

This book examines performance in the context of the 2003 Iraq War and subsequent conflicts with Daesh, or the so-called Islamic State. Working within a theater and performance studies lens, it analyzes adaptations of Greek tragedy, documentary theater, political performances by the Bush administration, protest performances, satiric news television programs, and post-apocalyptic narratives in popular culture. By considering performance across genre and media, War as Performance offers an interdisciplinary approach to the study of culture, warfare, and militarization, and argues that spectacular and banal aesthetics of contemporary war positions performance as a practice struggling to distance itself from appropriation by the military for violent ends. Contemporary warfare has infiltrated our narratives to such an extent that it holds performance hostage. As lines between the military and performance weaken, this book analyzes how performance responds to and potentially shapes war and conflict in the new century.

This edited volume aims to deepen our understanding of state power through a series of case studies of political violence arising from state ‘counter-terrorism’ strategies. The book examines how state counter-terrorism strategies are invariably underpinned by terror, in the form of state political violence. It seeks to answer three key questions: To what extent can counter-terror strategies be read as a form of state terror? How fundamental is state terror to the maintenance of a neo-liberal social order? What are the features of counter-terrorism that render it so easily reducible to state terror? In order to explore these issues, and to reach an understanding of what it means to say that the ‘war on terror’ is terror , the contributing authors draw upon case studies from a range of geographical contexts including the UK and Northern Ireland, the US and Colombia, and Sri Lanka and Tamil Eelam. Analysing these case studies from a psychological-warfare and hegemonic perspective, the book also includes two chapters from Noam Chomsky and John Pilger, which provide a global and historical context. This book will be of great interest to students of critical terrorism studies, political violence, war and conflict studies, sociology, international security and IR.

Developing ideas established in the successful first edition, this new version of America's War on Terror updates and expands the original collection of essays, allowing the reader to fully understand how the causes of the war on terror, both the domestic and foreign policy implications, and the future challenges faced by the United States have moved on since 2003.

While political scientists and political theorists have long been interested in social and political performance, and theatre and performance researchers have often focused on the political dimensions of the live arts, the interdisciplinary nature of this labor has typically been assumed rather than rigorously explored. This volume brings together leading scholars in the fields of Politics and Performance--drawing on experts across the fields of literature, law,anthropology, sociology, psychology, and media and communiction, as well as politics and theatre and performance--to map out and deepen the evolving interdisciplinary engagement. Organized into seven thematic sections, the volume investigates the relationship between politics and performance to show thatcertain features of political transactions shared by performances are fundamental to both disciplines--and that to a large extent they also share a common communicational base and language.

Since September 2001, the United States has waged what the government initially called the global war on terrorism (GWOT). Beginning in late 2005 and early 2006, the term Long War began to appear in U.S. security documents such as the National Security Council's National Strategy for Victory in Iraq and in statements by the U.S. Secretary of Defense and the Chairman of the JCS. The description Long War—unlimited in time and space and continuing for decades—is closer to reality and more useful than GWOT. Colonel Robert Cassidy argues that this protracted struggle is more correctly viewed as a global insurgency and counterinsurgency. Al Qaeda and its affiliates, he maintains, comprise a novel and evolving form of networked insurgents who operate globally, harnessing the advantages of globalization and the information age. They employ terrorism as a tactic, subsuming terror within their overarching aim of undermining the Western-dominated system of states. Placing the war against al Qaeda and its allied groups and organizations in the context of a global insurgency has vital implications for doctrine, interagency coordination, and military cultural change-all reviewed in this important work. Cassidy combines the foremost maxims of the most prominent Western philosopher of war and the most renowned Eastern philosopher of war to arrive at a threefold theme: know the enemy, know yourself, and know what kind of war you are embarking upon. To help readers arrive at that understanding, he first offers a distilled analysis of al Qaeda and its associated networks, with a particular focus on ideology and culture. In subsequent chapters, he elucidates the challenges big powers face when they prosecute counterinsurgencies, using historical examples from Russian, American, British, and French counterinsurgent wars before 2001. The book concludes with recommendations for the integration and command and control of indigenous forces and other agencies.