Arabic <i>Facts</i> Clashing Hybridities in Transnational Cultural Production
Bibliographic record
Abstract
In 2012, Bethlehem’s Al-Rowwad Cultural and Theatre Society undertook the challenge of co-producing Arthur Milner’s Facts with the New Theatre of Ottawa for a nine-city tour in the region. The successful production and warm reception to the play highlighted the potential for more Canadian playwrights, companies, and artists to engage with Palestine through cultural and theatrical exchanges. It also highlighted a series of challenging political, cultural, and philosophical differences, which emerged in production, talkbacks, and audience reception. Palestinian communities in different cities reacted in remarkably different ways to the play, which tells the story of two Israeli and Palestinian investigators as they attempt to solve a murder mystery in the West Bank. In Bethlehem, political issues of security coordination between the Palestinian Authority and Israel dominated the discussion. In Hebron, the audience responded to the engagement with settlers and the predominant presence of the Goldstein massacre at the end of the play. The mixed Israeli-Palestinian audience in Jaffa reacted in similar ways to the Canadian audience in Ottawa, focusing on the rift between religious and secular Israel. These varied responses reflected the transnational dimension of the production: the Canadian origins of the play, its hybridity in production, its international appeal, and its relevance to Palestine. I will outline the challenges of the production through a description, analysis, and critique of the process that led to opening night in Bethlehem’s Dar Annadwa Addawliyya, and closing night at Al-Rowwad. From the checkpoint to closing night, I tell the story of a successful partnership, while revealing the inevitable clashes of values that took place in this transnational cultural production.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.021 | 0.031 |
| Scholarly communication | 0.019 | 0.005 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.013 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".