This international analysis of theatrical case studies illustrates the ways that theater was an arena both of protest and, simultaneously, racist and imperialist exploitations of the colonized and enslaved body. By bringing together performances and discussions of theater culture from various colonial powers and orbits-ranging from Denmark and France to Great Britain and Brazil-this book explores the ways that slavery and hierarchical notions of "race" and "civilization" manifested around the world. At the same time, against the backdrop of colonial violence, the theater was a space that also facilitated reformist protest and served as evidence of the agency of Black people in revolt. Staging Slavery considers the implications of both white-penned productions of race and slavery performed by white actors in blackface makeup and Black counter-theater performances and productions that resisted racist structures, on and off the stage. With unique geographical perspectives, this volume is a useful resource for undergraduates, graduates, and researchers in the history of theater, nationalism and imperialism, race and slavery, and literature.

The book investigates facets of global Protestantism through Anglican, Quaker, Episcopalian, Moravian, Lutheran Pietist, and Pentecostal missions to enslaved and indigenous peoples and political reform endeavours in a global purview that spans the 1730s to the 1930s. The book uses key examples to trace both the local and the global impacts of this multi-denominational Christian movement. The essays in this volume explore three of the critical ways in which Protestant communities were established and became part of a worldwide network: the founding of far-flung missions in which Western missionaries worked alongside enslaved and indigenous converts; the interface between Protestant outreach and political reform endeavours such as abolitionism; and the establishment of a global epistolary through print communication networks. Demonstrating how Protestantism came to be both global and ecumenical, this book will be a key resource for scholars of religious history, religion and politics, and missiology as well as those interested in issues of postcolonialism and imperialism.

The book investigates facets of global Protestantism through Anglican, Quaker, Episcopalian, Moravian, Lutheran Pietist, and Pentecostal missions to enslaved and indigenous peoples and political reform endeavours in a global purview that spans the 1730s to the 1930s. The book uses key examples to trace both the local and the global impacts of this multi-denominational Christian movement. The essays in this volume explore three of the critical ways in which Protestant communities were established and became part of a worldwide network: the founding of far-flung missions in which Western missionaries worked alongside enslaved and indigenous converts; the interface between Protestant outreach and political reform endeavours such as abolitionism; and the establishment of a global epistolary through print communication networks. Demonstrating how Protestantism came to be both global and ecumenical, this book will be a key resource for scholars of religious history, religion and politics, and missiology as well as those interested in issues of postcolonialism and imperialism.

Jenna M. Gibbs explores the world of theatrical and related print production on both sides of the Atlantic in an age of remarkable political and social change. Her deeply researched study of working-class and middling entertainment covers the period of the American Revolution through the first half of the nineteenth century, examining controversies over the place of black people in the Anglo-American moral imagination. Taking a transatlantic and nearly century-long view, Performing the Temple of Liberty draws on a wide range of performed texts as well as ephemera-broadsides, ballads, and cartoons - and traces changes in white racial attitudes. Gibbs asks how popular entertainment incorporated and helped define concepts of liberty, natural rights, the nature of blackness, and the evils of slavery while also generating widespread acceptance, in America and in Great Britain, of blackface performance as a form of racial ridicule. Readers follow the migration of theatrical texts, images, and performers between London and Philadelphia. The story is not flattering to either the United States or Great Britain. Gibbs' account demonstrates how British portrayals of Africans ran to the sympathetic and to a definition of liberty that produced slave manumission in 1833 yet reflected an increasingly racialized sense of cultural superiority. On the American stage, the treatment of blacks devolved into a denigrating, patronizing view embedded both in blackface burlesque and in the idea of "Liberty," the figure of the white goddess. Performing the Temple of Liberty will appeal to readers across disciplinary lines of history, literature, theater history, and culture studies. Scholars and students interested in slavery and abolition, British and American politics and culture, and Atlantic history will also take an interest in this provocative work.