Performative Intergenerational Dialogues of a Black Quartet promotes the importance of intergenerational Black dialogue as a collaborative spirit-making across race, genders, sexualities, and cultures to bridge time and space. The authors enter this dialogue in a crisis moment: a crisis moment at the confluence of a pandemic, the national political transition of leadership in the United States, the necessary rise of Black, Indigenous, and People of Color activism-in the face of the continued murders of unarmed Black and queer people by police. And as each author mourns the loss of loved ones who have left us through illness, the contiguity of time, or murder, we all hold tight to each other and to memory as an act of keeping them alive in our hearts and actions, remembrance as an act of resistance so that the circle will be unbroken. But they also come together in the spirit of hope, the hope that bleeds the borders between generations of Black teacher-artist-scholars, the hope that we find in each other's joy and laughter, and the hope that comes when we hear both stories of struggle and strife and stories of celebration and smile that lead to possibilities and potentialities of our collective being and becoming-as a people. So, the authors offer stories of witness, resistance, and gettin' ovah, stories that serve as a road map from Black history and heritage to a Black futurity that is mythic and imagined but that can also be actualized and embodied, now. This book will be of interest to scholars, students, and activists in a wide range of disciplines across the social sciences and performance studies.

Performative Intergenerational Dialogues of a Black Quartet promotes the importance of intergenerational Black dialogue as a collaborative spirit-making across race, genders, sexualities, and cultures to bridge time and space. The authors enter this dialogue in a crisis moment: a crisis moment at the confluence of a pandemic, the national political transition of leadership in the United States, the necessary rise of Black, Indigenous, and People of Color activism-in the face of the continued murders of unarmed Black and queer people by police. And as each author mourns the loss of loved ones who have left us through illness, the contiguity of time, or murder, we all hold tight to each other and to memory as an act of keeping them alive in our hearts and actions, remembrance as an act of resistance so that the circle will be unbroken. But they also come together in the spirit of hope, the hope that bleeds the borders between generations of Black teacher-artist-scholars, the hope that we find in each other's joy and laughter, and the hope that comes when we hear both stories of struggle and strife and stories of celebration and smile that lead to possibilities and potentialities of our collective being and becoming-as a people. So, the authors offer stories of witness, resistance, and gettin' ovah, stories that serve as a road map from Black history and heritage to a Black futurity that is mythic and imagined but that can also be actualized and embodied, now. This book will be of interest to scholars, students, and activists in a wide range of disciplines across the social sciences and performance studies.

Collaborative Spirit-Writing and Performance in Everyday Black Lives is about the interconnectedness between collaboration, spirit, and writing. It is also about a dialogic engagement that draws upon shared lived experiences, hopes, and fears of two Black persons: male/female, straight/gay. This book is structured around a series of textual performances, poems, plays, dialogues, calls and responses, and mediations that serve as claim, ground, warrant, qualifier, rebuttal, and backing in an argument about collaborative spirit-writing for social justice. Each entry provides evidence of encounters of possibility, collated between the authors, for ourselves, for readers, and society from a standpoint of individual and collective struggle. The entries in this Black performance diary are at times independent and interdependent, interspliced and interrogative, interanimating and interstitial. They build arguments about collaboration but always emanate from a place of discontent in a caste system, designed through slavery and maintained until today, that positions Black people in relation to white superiority, terror, and perpetual struggle. With particular emphasis on the confluence of Race, Racism, Antiracism, Black Lives Matter, the Trump administration, and the Coronavirus pandemic, this book will appeal to students and scholars in Race studies, performance studies, and those who practice qualitative methods as a new way of seeking Black social justice.

Collaborative Spirit-Writing and Performance in Everyday Black Lives is about the interconnectedness between collaboration, spirit, and writing. It is also about a dialogic engagement that draws upon shared lived experiences, hopes, and fears of two Black persons: male/female, straight/gay. This book is structured around a series of textual performances, poems, plays, dialogues, calls and responses, and mediations that serve as claim, ground, warrant, qualifier, rebuttal, and backing in an argument about collaborative spirit-writing for social justice. Each entry provides evidence of encounters of possibility, collated between the authors, for ourselves, for readers, and society from a standpoint of individual and collective struggle. The entries in this Black performance diary are at times independent and interdependent, interspliced and interrogative, interanimating and interstitial. They build arguments about collaboration but always emanate from a place of discontent in a caste system, designed through slavery and maintained until today, that positions Black people in relation to white superiority, terror, and perpetual struggle. With particular emphasis on the confluence of Race, Racism, Antiracism, Black Lives Matter, the Trump administration, and the Coronavirus pandemic, this book will appeal to students and scholars in Race studies, performance studies, and those who practice qualitative methods as a new way of seeking Black social justice.

"Public Education and the Imagination-Intellect argues for re-thinking the thinking process and for urban education reform. Weems's work lives in the moment of creation. Her imagination-intellect theory chapters frame this book; she posits that the imagination and intellect are inextricably linked; that like Freire's architect all ideas are first imagined, then intellectually developed in an interconnected process that mirrors the blood's circulation through the body. The two plays and the collection of poems are rich, layered landscapes of African American culture and meanings. They lend themselves to multi-interpretation, co-performance, and co-ownership by each audience member who engages the work.

Writings of Healing and Resistance: Empathy and the Imagination-Intellect is a multi-authored, interdisciplinary journey. It continues the work started in Public Education and the Imagination-Intellect (Peter Lang, 2003) by extending the importance of empathy in developing an action-based social consciousness. Mary E. Weems doesn't argue for a specific way of pursuing an empathy connected to mind, body, and spirit: She acknowledges that just as artists work in various media, each with their own process for sharing how they think and feel about a particular topic or moment, each individual may arrive in their own way at a deep, spiritual, close identification with the experiences of the other. Writings of Healing and Resistance encompasses a variety of forms: autoethnography, ethnodrama, poetic inquiry, and critical essay, as well as scholars' work in a number of disciplines including communications, cultural studies, sociology, anthropology, educational leadership, African American studies, and cultural foundations.

Writings of Healing and Resistance: Empathy and the Imagination-Intellect is a multi-authored, interdisciplinary journey. It continues the work started in Public Education and the Imagination-Intellect (Peter Lang, 2003) by extending the importance of empathy in developing an action-based social consciousness. Mary E. Weems doesn't argue for a specific way of pursuing an empathy connected to mind, body, and spirit: She acknowledges that just as artists work in various media, each with their own process for sharing how they think and feel about a particular topic or moment, each individual may arrive in their own way at a deep, spiritual, close identification with the experiences of the other. Writings of Healing and Resistance encompasses a variety of forms: autoethnography, ethnodrama, poetic inquiry, and critical essay, as well as scholars' work in a number of disciplines including communications, cultural studies, sociology, anthropology, educational leadership, African American studies, and cultural foundations.