Given that slaveholders prohibited the creation of African-style performing objects, is there a traceable connection between traditional African puppets, masks, and performing objects and contemporary African American puppetry? This study approaches the question by looking at the whole performance complex surrounding African performing objects and examines the material culture of object performance. Object Performance in the Black Atlantic argues that since human beings can attribute private, personal meanings to objects obtained for personal use such as dolls, vessels, and quilts, the lines of material culture continuity between African and African American object performance run through objects that performed in ritual rather than theatrical capacity. Split into three parts, this book starts by outlining the spaces where the African American object performance complex persisted through the period of slavery. Part Two traces how African Americans began to reclaim object performance in the era of Jim Crow segregation and Part Three details how increased educational and economic opportunities along with new media technologies enabled African Americans to use performing objects as a powerful mode of resistance to the objectification of Black bodies. This is an essential study for any students of puppetry and material performance, and particularly those concerned with African American performance and performance in North America more broadly.

Given that slaveholders prohibited the creation of African-style performing objects, is there a traceable connection between traditional African puppets, masks, and performing objects and contemporary African American puppetry? This study approaches the question by looking at the whole performance complex surrounding African performing objects and examines the material culture of object performance. Object Performance in the Black Atlantic argues that since human beings can attribute private, personal meanings to objects obtained for personal use such as dolls, vessels, and quilts, the lines of material culture continuity between African and African American object performance run through objects that performed in ritual rather than theatrical capacity. Split into three parts, this book starts by outlining the spaces where the African American object performance complex persisted through the period of slavery. Part Two traces how African Americans began to reclaim object performance in the era of Jim Crow segregation and Part Three details how increased educational and economic opportunities along with new media technologies enabled African Americans to use performing objects as a powerful mode of resistance to the objectification of Black bodies. This is an essential study for any students of puppetry and material performance, and particularly those concerned with African American performance and performance in North America more broadly.

The tremendous universal appeal of Terry McMillan's "Waiting to Exhale" took the book world by storm. With her third novel finally earning her the recognition and respect she richly deserved, Terry McMillan followed up with "How Stella Got Her Groove Back," which continued to attract new and loyal fans from all walks of life. In this critical work Richards places these inspirational works, as well as McMillan's earlier writings, in their deserved cultural and literary context. Richards offers an insightful analysis of McMillan's narrative technique, which, while having roots in the blues aesthetic, has created a voice that sings out to readers across the lines of sex and race. McMillan's stories are inhabited by strong, dynamic African American women, yet these characters have universal lessons of life and love to share with all readers who appreciate good fiction.

A richly drawn biographical chapter examines the life of McMillan and the influences her own personal experiences have exerted on her writings. In the following chapter, Richards discusses McMillan's place in the literary tradition in which such writers as Zora Neale Hurston paved the way and inspired McMillan to write realistic, yet humorous accounts of the African American romantic experience. Richards devotes a chapter to each of McMillan's first four novels; "Mama" (1987), "Disappearing Acts" (1989), "Waiting to Exhale" (1992), and "How Stella Got Her Groove Back" (1996). She discusses each novel in terms of plot, narrative style, character development, thematic issues, historical and cultural context, and alternative critical perspective. The comprehensive bibliography, including a list of reviews and index, covers the movie adaptations as well as the books.

A few weeks prior to the submission deadline for this volume of Theatre Symposium, the murder of George Floyd by officers of the Minneapolis Police Department sparked a movement for racial justice that reverberated at every level of US society. At predominantly and historically white academic institutions (including Theatre Symposium and its parent organization, the Southeastern Theatre Conference) leaders were compelled, as perhaps never before, to account for the role of systematic racism in the foundation and perpetuation of their organizations. While the present volume’s theme of “Theatre and Race” was announced in the waning days of 2019, the composition and editing of the issue’s essays were undertaken almost entirely within the transformed cultural and professional landscape of 2020. Throughout its twenty-nine years of publication, Theatre Symposium’s pages have included many excellent essays whose authors have deployed theories of race as an analytical framework, and (less often) treated BIPOC-centered art and artists as subject. The intent of the current editors in conceiving this issue was to center such subjects and theorizations, a goal that has since taken on a more widely recognized urgency. Taken together, these twelve essays represent a wide range of scholarly responses to the theme of “theatre and race.” The fact that there is so much to say on the topic, from so many different perspectives, is a sign of how profoundly theatre practices have been—and continue to be—shaped by racial discourses and their material manifestations.