Video footage to accompany the thesis titled: How is Western-Influenced Contemporary Performance Practice in Dialogue with Fifth Wave Feminism?

In response to a number of political demonstrations, for example the Women's March (2017), Sophie Walker leader of the Women's Equality Party released a statement detailing the launch of a fifth wave of feminism. This dissertation explores the ways in which fifth wave feminism and performance practice are intrinsically linked, through the usage of
performance as a medium to instigate live encounters and embodied actions.
The recent rise in attendance at political protests can be traced back to the use of online platforms such as social media being galvanised to provide mass exposure for feminist activist actions. However, this study highlights the importance of transcending the online world in order to activate embodied engagement in the live space and therefore actualise the intentions of fifth wave feminism. Through an analysis of fifth wave feminism in chapter one, this research looks at the aims of the movement and illustrates its development through a construction process as a result of contemporary socio-political feminist discourse, as well as events such as the aforementioned political action.
The emphasis upon the process of creating fifth wave feminism illuminated in this study, demonstrates parallels with the creation processes used in performance-making. Thus the intention of this dissertation is to explore the process of developing the movement, as well as the dialogical relationship between fifth wave feminism, activism and contemporary feminist performance practice. Performance practice has been used as a methodology for discovering feminism throughout history, for example during the Suffragettes movement and throughout the Women's Liberation movement, whether it was through the art itself or as a political protest. Through case study examinations of three feminist performance events and an analysis of a practical investigation, The Anarchist Feminist Party (2018), this dissertation argues that performance is being used as a medium to initiate live encounters whilst also using the tools of our feminist predecessors to build upon their momentum.
The discussion considers intersectionality, diversity and inclusivity as primary concerns for fifth wave feminism and looks at the ways in which practitioners are actioning these concerns and how we can further effectuate these considerations within the movement.

针对包括2017年女性大游行（Women's March）在内的多场政治示威活动，英国妇女平等党（Women's Equality Party）领袖索菲·沃克（Sophie Walker）发表声明，详细阐述第五波女权主义（fifth wave feminism）的发起事宜。本论文旨在探讨第五波女权主义与表演实践（performance practice）之间的内在关联，即通过将表演作为媒介，催生现场互动与具身行动（embodied actions）。
近期政治抗议参与人数的回升，可归因于社交媒体（social media）等在线平台被用以赋能女权主义维权行动，实现大规模曝光。但本研究强调，唯有跳出线上场域，方能激活现场空间中的具身参与，进而实现第五波女权主义的核心诉求。本研究在第一章对第五波女权主义展开分析，梳理该运动的核心目标，并结合当代社会政治女权主义话语与前述政治行动等事件，阐释其通过建构进程实现的发展脉络。
本研究着重探讨第五波女权主义的生成进程，其与表演创作（performance-making）的生成过程存在诸多共通之处。因此，本论文旨在探究该运动的发展历程，以及第五波女权主义、维权行动与当代女权主义表演实践之间的对话性关系（dialogical relationship）。纵观历史，表演实践始终是发掘女权主义内涵的方法论路径：无论是以艺术形式本身，还是作为政治抗议手段，在妇女参政权论者运动（Suffragettes Movement）与妇女解放运动（Women's Liberation Movement）中均有体现。
本论文通过对三场女权主义表演活动的案例研究（case study），以及对2018年《无政府主义女权党》（The Anarchist Feminist Party）实践调研的分析，提出核心论点：表演可作为催生现场互动的媒介，同时借由女权主义先驱们的行动遗产，延续并拓展其运动势头。
本论文的讨论环节将交叉性（intersectionality）、多样性与包容性视为第五波女权主义的核心关切，并探讨实践者们如何落实这些关切，以及我们该如何在该运动中进一步践行这些理念。