ABSTRACT
In 2016, acclaimed artist Tanja Ostojić performed a new version of Naked Life in Aberdeen, a layered piece built from empirical details of United Nations Human Rights reports into the treatment of marginalised Roma communities in different European contexts. Following on from the bio-political critique contained in the performance, the event invited guests from local government and activist contexts to comment on the possibilities for interdisciplinary collaboration and ‘performance advocacy’ as a means to inform social and political change. Alongside these speakers, Roma performer Sonia Michalewicz shared her personal experiences of the issues raised. Although Ostojić’s artwork has since received critical acclaim, the voices and surrounding debate, choreographed as a creative and critical research practice, remain beyond visible analysis.
