{"title":"Say Their Names: Drama of the Black Lives Matter Era","authors":"Deborah R. Geis","doi":"10.2458/tbtr.4824","DOIUrl":"https://doi.org/10.2458/tbtr.4824","url":null,"abstract":"","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121077449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his infamous Dutchman (1964), Amiri Baraka evokes Baudelaire, the famed forefather of French Symbolism: building upon Véronique Lane’s 2017 monograph, Baraka, a member of the Beat Generation, has a French Genealogy, a practiced knowledge of French Symbolism which begs the application of a Symbolist paradigm to Baraka’s theory, works, and lived experience. In this essay, I justify this Baraka-Symbolist connection before undertaking a structuralist close-reading of both Dutchman and A Black Mass to suggest one understanding of Baraka’s mid-1960s transition from “[B]lack Baudelaire” to Black Muslim. This developmental narrative is founded within the contemporaneous scholarship of Franz Fanon and Baraka’s written take on the Civil Rights Movement. I unpack Baraka’s lived experience through a semiotic rereading of his autobiography alongside Pierre Quillard’s Symbolist play, The Girl With Cut-Off Hands (1891), applying James Harding’s notion of “linguistic panic” to these case studies to narrate Baraka’s development: like the Girl in Quillard’s play, Baraka’s self-genesis is a tale of cutting off (white) extremities, necessarily enacted in both the dramatic and the domestic. Lastly, I accept Baraka’s invitation to interrogate the racial politics of French Symbolism, informed by Mike Sell’s scholarship on the avant-garde, highlighting the Symbolists’ lack of racial sensitivity and the ways in which Baraka’s work draws our eyes to these shortcomings. I conclude that Baraka’s understanding of Symbolism offers us further insight into his radical artistic practices and personal transformation, while demonstrating how Baraka’s use and usurpation of French Symbolism lay bare the racial aporias of the historical avant-garde.
在他那本臭名昭著的《荷兰人》(1964年)中，阿米里·巴拉卡唤起了著名的法国象征主义鼻祖波德莱尔:在vsamuronique Lane 2017年的著作的基础上，巴拉卡作为垮掉的一代的一员，拥有法国的谱系，对法国象征主义的实践知识，要求将象征主义范式应用于巴拉卡的理论、作品和生活经验。在这篇文章中，在对《荷兰人》和《黑色弥撒》进行结构主义的仔细阅读之前，我证明了巴拉卡与象征主义的联系，以提出对巴拉卡在20世纪60年代中期从“波德莱尔”到黑人穆斯林的转变的一种理解。这种发展叙事是在弗兰兹·法农和巴拉卡对民权运动的写作中建立起来的。我通过符号学重读巴拉卡的自传，以及皮埃尔·奎拉德(Pierre Quillard)的象征主义戏剧《断手的女孩》(1891)，来解读巴拉卡的生活经历，将詹姆斯·哈丁(James Harding)的“语言恐慌”概念应用于这些案例研究，以叙述巴拉卡的发展:就像奎拉德戏剧中的女孩一样，巴拉卡的自我起源是一个切断(白人)四肢的故事，在戏剧和家庭中都是必要的。最后，我接受巴拉卡的邀请，通过迈克·塞尔对先锋派的研究，对法国象征主义的种族政治进行质疑，强调象征主义者缺乏种族敏感性，以及巴拉卡的作品吸引我们注意这些缺点的方式。我的结论是，巴拉卡对象征主义的理解让我们进一步了解他激进的艺术实践和个人转变，同时也展示了巴拉卡对法国象征主义的使用和篡夺如何暴露了历史先锋派的种族偏见。
{"title":"“A [B]lack Baudelaire”: Linguistic Panic and Symbolism in Amiri Baraka’s 1960s Life and Work","authors":"S. Zimmerman","doi":"10.2458/tbtr.4770","DOIUrl":"https://doi.org/10.2458/tbtr.4770","url":null,"abstract":"In his infamous Dutchman (1964), Amiri Baraka evokes Baudelaire, the famed forefather of French Symbolism: building upon Véronique Lane’s 2017 monograph, Baraka, a member of the Beat Generation, has a French Genealogy, a practiced knowledge of French Symbolism which begs the application of a Symbolist paradigm to Baraka’s theory, works, and lived experience. In this essay, I justify this Baraka-Symbolist connection before undertaking a structuralist close-reading of both Dutchman and A Black Mass to suggest one understanding of Baraka’s mid-1960s transition from “[B]lack Baudelaire” to Black Muslim. This developmental narrative is founded within the contemporaneous scholarship of Franz Fanon and Baraka’s written take on the Civil Rights Movement. I unpack Baraka’s lived experience through a semiotic rereading of his autobiography alongside Pierre Quillard’s Symbolist play, The Girl With Cut-Off Hands (1891), applying James Harding’s notion of “linguistic panic” to these case studies to narrate Baraka’s development: like the Girl in Quillard’s play, Baraka’s self-genesis is a tale of cutting off (white) extremities, necessarily enacted in both the dramatic and the domestic. Lastly, I accept Baraka’s invitation to interrogate the racial politics of French Symbolism, informed by Mike Sell’s scholarship on the avant-garde, highlighting the Symbolists’ lack of racial sensitivity and the ways in which Baraka’s work draws our eyes to these shortcomings. I conclude that Baraka’s understanding of Symbolism offers us further insight into his radical artistic practices and personal transformation, while demonstrating how Baraka’s use and usurpation of French Symbolism lay bare the racial aporias of the historical avant-garde.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127268369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article will examine how preparing soul foods comprised of cultural, social and personal constructions have manifested themselves into a performative representation of Black identities. I will analyze the preparation of popular Black American cuisines such as hot water cornbread and collard greens. Given the popularity of these soul foods, I will look for ways they inform and reveal the cultural, social and personal constructions that influence perceptions of Black identities and performances of blackness. This article is a way of discovering how food can contribute to the memory, meaning, and meaningfulness of Black experiences.
{"title":"Preparing Soul Food: Investigating Performativity vis-á-vis Cultural Memory","authors":"Michelle Cowin Gibbs","doi":"10.2458/tbtr.4779","DOIUrl":"https://doi.org/10.2458/tbtr.4779","url":null,"abstract":"This article will examine how preparing soul foods comprised of cultural, social and personal constructions have manifested themselves into a performative representation of Black identities. I will analyze the preparation of popular Black American cuisines such as hot water cornbread and collard greens. Given the popularity of these soul foods, I will look for ways they inform and reveal the cultural, social and personal constructions that influence perceptions of Black identities and performances of blackness. This article is a way of discovering how food can contribute to the memory, meaning, and meaningfulness of Black experiences.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132907931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of said book written by NICOLE HODGES PERSLEY and MONICA WHITE NDOUNOU
对NICOLE HODGES PERSLEY和MONICA WHITE NDOUNOU所写的书的评论
{"title":"BREAKING IT DOWN Audition Techniques for Actors of the Global Majority","authors":"Runako Jahi","doi":"10.2458/tbtr.4778","DOIUrl":"https://doi.org/10.2458/tbtr.4778","url":null,"abstract":"Review of said book written by NICOLE HODGES PERSLEY and MONICA WHITE NDOUNOU","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131504214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among the artists and music critics within the black sci-fi community interviewed for the film The Last Angel of History, Director John Akomfrah interweaves the narrative of the Data Thief who is on a quest to find the mythical crossroads. As a juncture marked by transience and inhabited by time travelers, the crossroads is where secret black technology is forged. The famous legend says that Robert Johnson learned the blues by selling his soul to the devil. The blues was a secret due to its transformative power to replicate and recode itself into several musical genres thereafter. The Data Thief, a cyborg-like fictional character, searches 200 years after Paul Johnson’s discovery to find the mythical crossroads to obtain the keys to his future. His journey commences with one spoken clue: “Mothership Connection.” Drawing from the narrative of the Data Thief and the allusion to Parliament’s 1975 album that situates blackness in outer space through funk music, this essay examines the ways in which inhabitants of the crossroads, the Data Thief and George Clinton in particular, produce a new expressive order against the grain of a nebulous history imposed upon them by dominant white cultural representations. Through a reorganizing of black aesthetics, critical theory and liberation politics, this article highlights how black artists manipulate and imaginatively transcend linear time and make history beyond the Middle Passage epistemology. The movements of these artists collide with theories of spacetime borrowed from science fiction in service of theorizing black performance.
{"title":"An Angel, a Thief, and a Mothership: Black Movements through Time and Space","authors":"Danielle AD Howard","doi":"10.2458/tbtr.4771","DOIUrl":"https://doi.org/10.2458/tbtr.4771","url":null,"abstract":"Among the artists and music critics within the black sci-fi community interviewed for the film The Last Angel of History, Director John Akomfrah interweaves the narrative of the Data Thief who is on a quest to find the mythical crossroads. As a juncture marked by transience and inhabited by time travelers, the crossroads is where secret black technology is forged. The famous legend says that Robert Johnson learned the blues by selling his soul to the devil. The blues was a secret due to its transformative power to replicate and recode itself into several musical genres thereafter. The Data Thief, a cyborg-like fictional character, searches 200 years after Paul Johnson’s discovery to find the mythical crossroads to obtain the keys to his future. His journey commences with one spoken clue: “Mothership Connection.” Drawing from the narrative of the Data Thief and the allusion to Parliament’s 1975 album that situates blackness in outer space through funk music, this essay examines the ways in which inhabitants of the crossroads, the Data Thief and George Clinton in particular, produce a new expressive order against the grain of a nebulous history imposed upon them by dominant white cultural representations. Through a reorganizing of black aesthetics, critical theory and liberation politics, this article highlights how black artists manipulate and imaginatively transcend linear time and make history beyond the Middle Passage epistemology. The movements of these artists collide with theories of spacetime borrowed from science fiction in service of theorizing black performance.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133131684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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