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Showing 1 - 6 of 6 matches in All Departments
This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings - some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe - and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect. Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong'o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.
Black performance theory is a rich interdisciplinary area of study
and critical method. This collection of new essays by some of its
pioneering thinkers--many of whom are performers--demonstrates the
breadth, depth, innovation, and critical value of black performance
theory. Considering how blackness is imagined in and through
performance, the contributors address topics including flight as a
persistent theme in African American aesthetics, the circulation of
minstrel tropes in Liverpool and in Afro-Mexican settlements in
Oaxaca, and the reach of hip-hop politics as people around the
world embrace the music and dance. They examine the work of
contemporary choreographers Ronald K. Brown and Reggie Wilson, the
ways that African American playwrights translated the theatricality
of lynching to the stage, the ecstatic music of Little Richard, and
Michael Jackson's performance in the documentary "This Is It." The
collection includes several essays that exemplify the performative
capacity of writing, as well as discussion of a project that
re-creates seminal hip-hop album covers through tableaux vivants.
Whether deliberating on the tragic mulatta, the trickster figure
Anansi, or the sonic futurism of Nina Simone and Adrienne Kennedy,
the essays in this collection signal the vast untapped critical and
creative resources of black performance theory.
This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings - some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe - and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect. Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong'o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.
Black performance theory is a rich interdisciplinary area of study
and critical method. This collection of new essays by some of its
pioneering thinkers--many of whom are performers--demonstrates the
breadth, depth, innovation, and critical value of black performance
theory. Considering how blackness is imagined in and through
performance, the contributors address topics including flight as a
persistent theme in African American aesthetics, the circulation of
minstrel tropes in Liverpool and in Afro-Mexican settlements in
Oaxaca, and the reach of hip-hop politics as people around the
world embrace the music and dance. They examine the work of
contemporary choreographers Ronald K. Brown and Reggie Wilson, the
ways that African American playwrights translated the theatricality
of lynching to the stage, the ecstatic music of Little Richard, and
Michael Jackson's performance in the documentary "This Is It." The
collection includes several essays that exemplify the performative
capacity of writing, as well as discussion of a project that
re-creates seminal hip-hop album covers through tableaux vivants.
Whether deliberating on the tragic mulatta, the trickster figure
Anansi, or the sonic futurism of Nina Simone and Adrienne Kennedy,
the essays in this collection signal the vast untapped critical and
creative resources of black performance theory.
While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves to be either black or African. For almost a century, Mexico has promoted an ideal of its citizens as having a combination of indigenous and European ancestry. This obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies-of dance, music, and theatrical events-reveal the influence of African people and their cultural productions on Mexican society. In this work, Anita Gonzalez articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.
"Looking for Asian America" shows real people engaged in the full
range of human activity. This is no small accomplishment for the
photographer or his subjects. For Asian Americans it is
extraordinary to be merely ordinary. To others, even if not to
themselves, Asian Americans appear to be contradictions of
identity--a Chinese-Yankee is a knockoff." --Frank H. Wu, from the
Foreword
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