Julie Burelle is an assistant professor in the Department of Theatre and Dance at the University of California San Diego.
"Burelle's close study of performance in the context of Québec
offers poignant questions about sovereignty, identity, and settler
colonial responsibility. Encounters on Contested Lands unsettles
the 'willful forgetting' that constitutes so many missed or failed
encounters in real life performances of settler colonialism."
--Jenn Cole, Trent University ". . . trenchant, intelligent, and
important work on a subject that continues to be of vital interest
and importance." --Rebecca Harries, Theatre Journal ". . . an
important contribution to scholarship about performance in and of
the Americas." --Vivian Appler, The Journal of American Drama and
Theatre
"Encounters on Contested Lands is a powerful book presenting, from
a performance studies perspective, a searing indictment of the
performed relationship between Québécois efforts to ground their
claims to nationhood in Indigeneity and Indigenous peoples
themselves." --Ric Knowles, author of Performing the Intercultural
City "Encounters on Contested Lands joins an ongoing conversation
around the challenges and possibilities of decolonization from the
perspective of Performance Studies, and represents an important
contribution to decolonial thought and practice across the
Americas. Specifically, it broadens this conversation by offering a
much-needed investigation, in English, of decolonization and
performance read in relation to Québécois claims of sovereignty."
--Martha Herrera-Lasso González, Theatre Research in Canada
"Julie Burelle's Encounters on Contested Lands conducts an
in-depth, comparative analysis of French québécois de souche (white
descendants of French settlers) and Indigenous performances of
sovereignty and nationhood in Québec. It sheds light on complex
cultural forms, expressions, and denials of settler colonialism and
whiteness in the historical, political, and cultural context of
Québec while attending to the critical force yielded by
contemporary Indigenous theatre, film, visual arts, and activism .
. . Throughout her book, Burelle skilfully draws on theoretical
works in performance studies and Indigenous studies, as well as in
other fields, in order to problematize the still largely
unacknowledged French québécois de souche settler colonial project.
Her refined and extended knowledge of the province's political,
cultural, and literary history, combined with her detailed,
contextualized, and soundly theorized analyses of performances by
both French québécois de souche and Indigenous artists in the
province allow for a convincing unveiling of the 'angles morts'
['blind spots'] that Nawel Hamidi et al. have incited us to debunk
in relation to First Peoples in Québec." --Isabelle St-Amand,
Modern Drama
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