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E-book Performing the Greek Crisis : Navigating National Identity in the Age of Austerity
It was the last day of October 2015 when I attended Rootlessroot’s (2015) performance Europium [The end of the world will be better this year]1 at the Onassis Stegi in Athens, Greece. Europium, the chemical element, is known for its volatile and unpredictable nature, much like the narratives circulating internationally about Greeks during the Greek financial crisis. Its abbrevia-tion, Eu, is a reference to the European Union (EU) and the fragile balances between Greece, at the time considered the most volatile economy in the EU, and its lenders, the comparatively “healthier” economies.Tall wooden pillars stand erect in a crescent shape at the back of the stage. The dancers have carefully positioned them there one by one. Sweat glistens on their exposed limbs, evidencing their hard work. A white light illuminates the center of the stage. The pillars in the background are barely visible through the shadows in a faint yellow hue. Two dancers lurk in the dark behind the large wooden poles giving them gentle nudges, so they tilt forward to be caught by one of the others right before they hit the ground. Dancer Paul Blackman walks onstage holding a microphone tripod stand and, standing under the center light, enthusiastically addresses the audience. “Oh my gosh! . . . Isn’t it amazing what we’re trying to do here?” he asks, looking around him as the other four performers (Linda Kapetanea, Jacob Ingram-Dodd, Konstantina Efthymiadou, and Manuel Ronda) are tearing down the remaining wooden pillars to construct the raft of Medusa.According to the performance program, the raft of Medusa refers to the true story of the French frigate Méduse, which sank in 1810 because the cap-tain, appointed in an act of political preferment, was unable to navigate it. “I know what you’re looking for, though,” Blackman continues, grasping the microphone stand firmly with both hands.
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