Book contents
- Frontmatter
- Contents
- Acknowledgements
- Introduction: Framing Noncitizenship
- 1 The Politics of Innocence in Theatres of Reality
- 2 Domestic Comedy and Theatrical Heterotopias
- 3 Territories of Contact in Documentary Film
- 4 The Pain of Others: Performance, Protest and Instrumental Self-Injury
- 5 Welcome to Country? Aboriginal Activism and Ontologies of Sovereignty
- Conclusion: A Global Politics of Noncitizenship
- Notes
- Bibliography
- Index
1 - The Politics of Innocence in Theatres of Reality
Published online by Cambridge University Press: 05 December 2015
- Frontmatter
- Contents
- Acknowledgements
- Introduction: Framing Noncitizenship
- 1 The Politics of Innocence in Theatres of Reality
- 2 Domestic Comedy and Theatrical Heterotopias
- 3 Territories of Contact in Documentary Film
- 4 The Pain of Others: Performance, Protest and Instrumental Self-Injury
- 5 Welcome to Country? Aboriginal Activism and Ontologies of Sovereignty
- Conclusion: A Global Politics of Noncitizenship
- Notes
- Bibliography
- Index
Summary
I have spent all my life between yes and no.
—Towfiq Al-Qady, Nothing But NothingInnocence, in the sense of complete lack of responsibility, was the mark of their rightlessness as it was the seal of their loss of political status.
—Hannah Arendt, The Origins of TotalitarianismAt the start of the book I referred to one of the many tragedies at sea that have befallen asylum seekers transported on people-smuggling vessels across the heavily-patrolled waters between Indonesia and Australia. As I noted, the five deaths in this particular instance, following a large explosion of fuel on board the asylum seeker vessel SIEV 36, were found at a coronial inquest to be the result of deliberate sabotage by ‘a passenger or passengers’ (Cavanagh 5), that is, one or more of the asylum seekers aboard the boat, in an attempt to ensure that they would not be returned by Australian Navy personnel to Indonesia. Reports in the wake of the 2009 event speculated that the cause of the boat explosion had been deliberate, but before the findings of the 2010 coronial inquest were published, it was all too easy for asylum seeker advocates, including academics, to doubt the veracity of this claim, perhaps assuming it to be part of a general strategy of character assassination akin to that which underpinned the ‘children overboard’ scandal of 2001. But the speculation turned out to be warranted, as well as inconvenient for a politics that implicitly depends upon asylum seeker innocence as a key reason for compassion to be extended to them. Of course, the trouble with pegging asylum seekers’ deservingness of humanitarian protection in Australia to innocence is that it promotes a morality instead of an ethics and that it struggles—indeed, is often unable—to absorb complex motivations, duplicity or recklessness: in the case of the boat explosion, a plea for asylum that turns into a deadly demand.
- Type
- Chapter
- Information
- Performing NoncitizenshipAsylum Seekers in Australian Theatre, Film and Activism, pp. 23 - 60Publisher: Anthem PressPrint publication year: 2015