Using the notion of excess―its transgression, multiplicity, gender, and ambivalence―Malik Gaines considers how performances of that era circulated a black political discourse capable of unsettling commonplace understandings of race, and sexuality. Articulates the role black theatricality played in the radical energy of the sixties Black Performance on the Outskirts of the Left illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.
Du bois, europe and back, this book considers how artists negotiated at once the local, from the United States to West Africa, Josephine Baker, national, and other modern political actors, and diasporic frames through which race has been represented. Looking broadly at performances found in music, theater, film, afro-german actor günther Kaufmann, Ghanaian playwrights Efua Sutherland and Ama Ata Aidoo, and everyday life―from American singer and pianist Nina Simone, to California-based performer Sylvester―Gaines explores how shared signs of racial legacy and resistance politics are articulated with regional distinction.
Black Performance on the Outskirts of the Left: A History of the Impossible Sexual Cultures #ad - These ideas paved the way for imaginative models for social transformation through performance. Black performance on the outskirts of the left articulates the role black theatricality played in the radical energy of the sixties, following the evolution of black identity politics to reveal blackness’s ability to transform contemporary social conditions.
Following the transnational route forged by W.
Black and Blur consent not to be a single beingDuke University Press Books #ad - In these interrelated essays, moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.
Black and blur is marked by unlikely juxtapositions: althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and José Esteban Muñoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other.
Black and Blur consent not to be a single being #ad - Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis. Brent hayes edwards, author of epistrophies: jazz and the literary imagination In Black and Blur—the first volume in his sublime and compelling trilogy consent not to be a single being—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism.
Wayward Lives, Beautiful Experiments: Intimate Histories of Social UpheavalW. W. Norton & Company #ad - Through a melding of history and literary imagination, Wayward Lives recovers their radical aspirations and insurgent desires. For the first time, young black women are credited with shaping a cultural movement that transformed the urban landscape. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage.
67 black and white illustrations. Hartman narrates the story of this radical social transformation against the grain of the prevailing century-old argument about the crisis of the black family. In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship that were indifferent to the dictates of respectability and outside the bounds of law.
A breathtaking exploration of the lives of young black women in the early twentieth century. In wayward lives, beautiful experiments, Saidiya Hartman examines the revolution of black intimate life that unfolded in Philadelphia and New York at the beginning of the twentieth century. Free love, serial partners, and single motherhood were among the sweeping changes that altered the character of everyday life and challenged traditional Victorian beliefs about courtship, cohabitation outside of wedlock, love, queer relations, common-law and transient marriages, and marriage.
Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval #ad - Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading conditions of work. Beautifully written and deeply researched, wayward lives recreates the experience of young urban black women who desired an existence qualitatively different than the one that had been scripted for them―domestic service, second-class citizenship, and respectable poverty―and whose intimate revolution was apprehended as crime and pathology.
After the Ceremonies: New and Selected Poems African Poetry BookUniversity of Nebraska Press #ad - Spanning three decades of work, and gender in intimate, motherhood, the poems in this collection address themes of colonialism, independence, personal ways alongside commentary on broader social issues. After the ceremonies is arranged in three parts: new and uncollected poems, some of which Aidoo calls “misplaced or downright lost”; selections from Aidoo’s An Angry Letter in January and Other Poems; and selections from Someone Talking to Sometime.
Although aidoo is best known for her novels changes: a love story and our Sister Killjoy, and her plays The Dilemma of a Ghost and Anowa, which are read and performed all over the world, which are widely read in women’s literature courses, her prowess as a poet shines in this collection. Ama ata aidoo is one of the best-known African writers today.
In the Wake: On Blackness and BeingDuke University Press Books #ad - Initiating and describing a theory and method of reading the metaphors and materiality of "the wake, " "the hold, " and "the weather, " Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, " "the ship, and punishment, but also something in excess of them.
In this original and trenchant work, cinematic, visual, Christina Sharpe interrogates literary, and quotidian representations of Black life that comprise what she calls the "orthography of the wake. Activating multiple registers of "wake"—the path behind a ship, keeping watch with the dead, coming to consciousness—Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation.
In the Wake: On Blackness and Being #ad - Formulating the wake and "wake work" as sites of artistic production, consciousness, and possibility for living in diaspora, resistance, In the Wake offers a way forward. Duke University Press. In the weather, sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative.
Afro-Fabulations Sexual CulturesNYU Press #ad - He takes up a broad range of sites of analysis, from speculative fiction to performance art, from artificial intelligence to Blaxploitation cinema. Moving past the antirelational debates in queer theory, Nyong’o posits queerness as “angular sociality, ” drawing upon queer of color critique in order to name the gate and rhythm of black social life as it moves in and out of step with itself.
. Moving fluidly between the insurgent art of the 1960’s and the intersectional activism of the present day, Afro-Fabulations challenges genealogies of blackness that ignore its creative capacity to exceed conditions of traumatic loss, social death, and archival erasure. If black survival in an anti-black world often feels like a race against time, Afro-Fabulations looks to the modes of memory and imagination through which a queer and black polytemporality is invented and sustained.
Afro-Fabulations Sexual Cultures #ad - Argues for a conception of black cultural life that exceeds post-blackness and conditions of loss In Afro-Fabulations: The Queer Drama of Black Life, cultural critic and historian Tavia Nyong’o surveys the conditions of contemporary black artistic production in the era of post-blackness. Duke University Press.
Reading the archive of violence and trauma against the grain, Afro-Fabulations summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life.
Black on Both Sides: A Racial History of Trans IdentityUniv Of Minnesota Press #ad - Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds. Marion sims, the “father of American gynecology, ” to the negation of blackness that makes transnormativity possible. Revealing instances of personal sovereignty among blacks living in the antebellum north that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within, who was murdered alongside Brandon Teena in 1993, ” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, a fact omitted from the film Boys Don’t Cry out of narrative convenience.
In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Winner of the john boswell prize from the american historical association 2018 winner of the william sanders scarborough prize from the modern Language Association 2018 Winner of an American Library Association Stonewall Honor 2018 Winner of Lambda Literary Award for Transgender Nonfiction 2018 Winner of the Sylvia Rivera Award in Transgender Studies from the Center for Lesbian and Gay Studies The story of Christine Jorgensen, America’s first prominent transsexual, famously narrated trans embodiment in the postwar era.
Black on Both Sides: A Racial History of Trans Identity #ad - Duke University Press. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. Riley snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.
Drawing on a deep and varied archive of materials—early sexological texts, sensationalist journalism, fugitive slave narratives, Afro-modernist literature, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable.
Embodied Avatars: Genealogies of Black Feminist Art and Performance Sexual CulturesNYU Press #ad - Throughout, mcmillan reveals how these performers manipulated thedimensions of objecthood, black performance art, and avatars in a powerful re-scripting oftheir bodies while enacting artful forms of social misbehavior. The critical lede interview with Uri McMillan Duke University Press. In doing so, performance, these artists raisednew ways to ponder the intersections of art, and black female embodiment.
Mcmillan reframes the concept of the avatar in the service of black performance art, describing black women performers’ skillful manipulation of synthetic selves and adroitprojection of their performances into other representational mediums. A bold rethinking ofperformance art, seminal artists adrian piper andHowardena Pindell, Embodied Avatars analyzes daring performances of alterity staged by“ancient negress” Joice Heth and fugitive slave Ellen Craft, and contemporary visual and music artists Simone Leigh and NickiMinaj.
How black women have personified art, and/or performance studies, 2016 barnard hewitt award for outstanding research in theatre history, identity, 2016 william sanders Scarborough Prize, drama, presented by the American Society for Theatre ResearchTracing a dynamic genealogy of performance from the nineteenth to the twenty-firstcentury, Uri McMillan contends that black women artists practiced a purposeful self-objectification, presented by the Modern Language Association for an outstanding scholarly study of African American literature or cultureWinner, and freedom through performanceWinner, expression, presented by the American Society for Theatre ResearchWinner, 2016 Errol Hill Award for outstanding scholarship in African American theater, transforming themselves into art objects.
Embodied Avatars: Genealogies of Black Feminist Art and Performance Sexual Cultures #ad - Fusing performance studies with literary analysis and visual culture studies, photography, including engravings, from freak shows to the streets of 1970s New York; in literary texts, from artists’ writingsto slave narratives; and in visual and digital mediums, McMillan offers astute readings of performances staged in theatrical and quotidian locales, and video art.
A Billion Black Anthropocenes or None Forerunners: Ideas FirstUniv Of Minnesota Press #ad - Duke University Press. Yusoff initiates a transdisciplinary conversation between feminist black theory, deep time, materiality, and the earth sciences, geography, addressing the politics of the Anthropocene within the context of race, and the afterlives of geology. Tracing the color line of the anthropocene, A Billion Black Anthropocenes or None examines how the grammar of geology is foundational to establishing the extractive economies of subjective life and the earth under colonialism and slavery.
This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship. Written between fresh ideas and finished books, conference plenaries, Forerunners draws on scholarly work initiated in notable blogs, journal articles, social media, and the synergy of academic exchange.
A Billion Black Anthropocenes or None Forerunners: Ideas First #ad - Rewriting the “origin stories” of the Anthropocene No geology is neutral, writes Kathryn Yusoff. Forerunners is a thought-in-process series of breakthrough digital works.
After the Party: A Manifesto for Queer of Color Life Sexual CulturesNYU Press #ad - After the party tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation. Winner, 2019 athe outstanding book award, given by the Association for Theatre in Higher EducationA new manifesto for performance studies on the art of queer of color worldmaking.
. Duke University Press. With urgency and pathos, chambers-Letson argues that it is through minoritarian performance that we keep our dead alive and with us as we struggle to survive an increasingly precarious present. Describing performance as a rehearsal for new ways of living together, the vietnam War, After the Party moves between slavery, the first wave of the AIDS crisis, the Civil Rights Movement, and the catastrophe-riddled horizon of the early twenty-first century to consider this worldmaking practice as it is born of the tension between freedom and its negation.
Building upon the thought of josé esteban muñoz alongside prominent scholarship in queer of color critique, Joshua Chambers-Letson maps a portrait of performance’s capacity to produce what he calls a communism of incommensurability, and Marxist aesthetic criticism, black studies, a practice of being together in difference.
After the Party: A Manifesto for Queer of Color Life Sexual Cultures #ad - Through the exemplary work of nina simone, and with additional appearances by nao bustamante, danh vō, Audre Lorde, After the Party considers performance as it is produced within and against overlapping histories of US colonialism, and Tseng Kwong Chi, white supremacy, Martin Wong, and Nona Faustine, Eiko, Assata Shakur, Felix Gonzalez-Torres, Jorge Ignacio Cortiñas, and heteropatriarchy.
Cruel OptimismDuke University Press Books #ad - Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary.
Duke University Press. Duke University Press. Cruel optimism is a remarkable affective history of the present. A relation of cruel optimism exists when something you desire is actually an obstacle to your flourishing. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.
Cruel Optimism #ad - Arguing that the historical present is perceived affectively before it is understood in any other way, contingency, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, and crisis.