I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’. / Grøn, Helene.

In: Performance Research: a journal of the performing arts, Vol. Volume 27, No. 3-4, 2023, p. 161-166.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Grøn, H 2023, 'I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’', Performance Research: a journal of the performing arts, vol. Volume 27, no. 3-4, pp. 161-166. https://doi.org/10.1080/13528165.2022.2155428

APA

Grøn, H. (2023). I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’. Performance Research: a journal of the performing arts, Volume 27(3-4), 161-166. https://doi.org/10.1080/13528165.2022.2155428

Vancouver

Grøn H. I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’. Performance Research: a journal of the performing arts. 2023;Volume 27(3-4):161-166. https://doi.org/10.1080/13528165.2022.2155428

Author

Grøn, Helene. / I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’. In: Performance Research: a journal of the performing arts. 2023 ; Vol. Volume 27, No. 3-4. pp. 161-166.

Bibtex

@article{4b96e11ec94646cbbeda9f4ff76f46d8,
title = "I am Queen Mary: On Sustained Protest and Denmark{\textquoteright}s {\textquoteleft}colonial amnesia{\textquoteright}",
abstract = "This article focuses on sustained protest through the I am Queen Mary statue, sitting in front of the West Indian Warehouse in Copenhagen{\textquoteright}s waterfront. I am Queen Mary was co-created by artists La Vaughn Belle and Jeannette Ehlers, and inspired by Mary Thomas, a key figure of rebellion from the 1878 Fireburn labour revolt on St Croix against the {\textquoteleft}contractual servitude that continued to bind workers to the plantation system after the 1848 abolition of slavery{\textquoteright} (Ehlers and Belle n.d.). The statue is then {\textquoteleft}a hybrid of bodies, nations and narratives{\textquoteright} (Ehlers and Belle n.d.) that simultaneously invites the viewer into reflections on Denmark{\textquoteright}s {\textquoteleft}colonial amnesia{\textquoteright} (Belle n.d., 2019; Ehlers and Belle n.d.; Stenum 2017; Odumosu 2019). Through the lens of Laura Shalson and Mary Lynne Gasaway Hill{\textquoteright}s thinking on performance and protest, the following analyses I am Queen Mary from her artistic making, to the invitation into critical and reflective viewership and the necessary ongoing campaigning for a {\textquoteleft}permanent space to holistically tell the history of slavery and colonialism{\textquoteright} (Odumosu, 2019: 628).",
author = "Helene Gr{\o}n",
year = "2023",
doi = "10.1080/13528165.2022.2155428",
language = "English",
volume = "Volume 27",
pages = "161--166",
journal = "Performance Research",
issn = "1352-8165",
publisher = "Routledge",
number = "3-4",

}

RIS

TY - JOUR

T1 - I am Queen Mary: On Sustained Protest and Denmark’s ‘colonial amnesia’

AU - Grøn, Helene

PY - 2023

Y1 - 2023

N2 - This article focuses on sustained protest through the I am Queen Mary statue, sitting in front of the West Indian Warehouse in Copenhagen’s waterfront. I am Queen Mary was co-created by artists La Vaughn Belle and Jeannette Ehlers, and inspired by Mary Thomas, a key figure of rebellion from the 1878 Fireburn labour revolt on St Croix against the ‘contractual servitude that continued to bind workers to the plantation system after the 1848 abolition of slavery’ (Ehlers and Belle n.d.). The statue is then ‘a hybrid of bodies, nations and narratives’ (Ehlers and Belle n.d.) that simultaneously invites the viewer into reflections on Denmark’s ‘colonial amnesia’ (Belle n.d., 2019; Ehlers and Belle n.d.; Stenum 2017; Odumosu 2019). Through the lens of Laura Shalson and Mary Lynne Gasaway Hill’s thinking on performance and protest, the following analyses I am Queen Mary from her artistic making, to the invitation into critical and reflective viewership and the necessary ongoing campaigning for a ‘permanent space to holistically tell the history of slavery and colonialism’ (Odumosu, 2019: 628).

AB - This article focuses on sustained protest through the I am Queen Mary statue, sitting in front of the West Indian Warehouse in Copenhagen’s waterfront. I am Queen Mary was co-created by artists La Vaughn Belle and Jeannette Ehlers, and inspired by Mary Thomas, a key figure of rebellion from the 1878 Fireburn labour revolt on St Croix against the ‘contractual servitude that continued to bind workers to the plantation system after the 1848 abolition of slavery’ (Ehlers and Belle n.d.). The statue is then ‘a hybrid of bodies, nations and narratives’ (Ehlers and Belle n.d.) that simultaneously invites the viewer into reflections on Denmark’s ‘colonial amnesia’ (Belle n.d., 2019; Ehlers and Belle n.d.; Stenum 2017; Odumosu 2019). Through the lens of Laura Shalson and Mary Lynne Gasaway Hill’s thinking on performance and protest, the following analyses I am Queen Mary from her artistic making, to the invitation into critical and reflective viewership and the necessary ongoing campaigning for a ‘permanent space to holistically tell the history of slavery and colonialism’ (Odumosu, 2019: 628).

U2 - 10.1080/13528165.2022.2155428

DO - 10.1080/13528165.2022.2155428

M3 - Journal article

VL - Volume 27

SP - 161

EP - 166

JO - Performance Research

JF - Performance Research

SN - 1352-8165

IS - 3-4

ER -

ID: 332601666