Queer Isn’t a Choice! Queer Is My Family!
Résumé
Résumé
Dans cet article, Pamela Baer examine comment des jeunes ayant des parents LGBTQ2S+ se sont engagés dans l’écriture d’une chanson inédite lors d’une formation à la diversité des genres et des sexes offerte dans le cadre d’un projet de recherche en théâtre appliqué. Le processus s’est avéré révélateur et très personnel et a permis de créer un espace puissant pour l’exploration de soi et l’élaboration d’un effort de sensibilisation mené par les jeunes. Les participants à la formation étaient d’avis qu’il faut célébrer, accepter et assumer l’identité queer. Qu’il ne s’agit pas d’une identité marginale que l’on doit remettre en question et expliquer, mais plutôt d’un lieu incarné d’où l’on peut émerger et devenir. La chanson composée dans le cadre de l’atelier célèbre les situations familiales uniques tout en laissant entendre que chaque personne est différente à sa manière. Ainsi, l’écriture de chansons comme pratique affective a amené les participants à réorganiser leur monde de manière subversive et autonomisante. L’émergence de possibilités nouvelles s’est matérialisée en plaçant au cœur du processus les histoires des jeunes participants qu’ils avaient eux-mêmes écrites et qui étaient destinés à leurs semblables, et ce, tout en naviguant les tensions liées à la paternité de l’œuvre, l’esthétique et la pédagogie.
Abstract
This article reflects on the way that young people with LGBTQ2S+ parents engaged in the writing of an original song as a form of gender and sexual diversity education during an applied theatre research project. The creative work was self-revelatory, deeply personal, and created a powerful space for both self-exploration and youth-led advocacy. Participants believed that queer is to be celebrated, embraced, and owned. Not as a marginal identity that needs to be questioned and explained, but as an embodied site of emergence and becoming. The song that was written during this workshop celebrates unique family formations while also suggesting that everyone is different in their own way. In doing so, songwriting as affective practice engaged participants in a subversive and empowering reordering of their world. The emergence of new possibilities materialized by centring the stories of, by, and for youth participants as we navigated the tensions between authorship, aesthetics, and pedagogy.
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Works Cited
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Published In
Theatre Research in Canada
Volume 41 • Number 2 • Fall/automne 2020
Pages: 313 - 317
Copyright
2020 University of Toronto Press.
History
Published in print: Fall/automne 2020
Published online: 3 December 2020
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Theatre Research in Canada 2020 41:2, 313-317
Theatre Research in Canada 2020 41:2, 313-317