Pub Date : 2022-03-03DOI: 10.1080/10462937.2022.2044071
Bimbola Akinbola
ABSTRACT The “African aunties” hashtag has over 21 million views on the video-sharing app TikTok. Akinbola examines how African women and girls embody and perform the African auntie on TikTok, focusing on three types of videos: Deprecating auntie performances, celebratory auntie performances, and re-staged encounters with aunties. Specifically analyzing videos created by and/or featuring African women and girls, Akinbola argues that these content creators practice “digital disbelonging” by embracing the personal and cultural importance of their African aunties, while explicitly rejecting the forms of gendered surveillance, discipline and shame that shape their day to day lives.
{"title":"#AfricanAunties: performing diasporic digital disbelongings on TikTok","authors":"Bimbola Akinbola","doi":"10.1080/10462937.2022.2044071","DOIUrl":"https://doi.org/10.1080/10462937.2022.2044071","url":null,"abstract":"ABSTRACT The “African aunties” hashtag has over 21 million views on the video-sharing app TikTok. Akinbola examines how African women and girls embody and perform the African auntie on TikTok, focusing on three types of videos: Deprecating auntie performances, celebratory auntie performances, and re-staged encounters with aunties. Specifically analyzing videos created by and/or featuring African women and girls, Akinbola argues that these content creators practice “digital disbelonging” by embracing the personal and cultural importance of their African aunties, while explicitly rejecting the forms of gendered surveillance, discipline and shame that shape their day to day lives.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"284 - 297"},"PeriodicalIF":0.5,"publicationDate":"2022-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42044359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-03DOI: 10.1080/10462937.2022.2045032
E. Hunter, Ariel Kizer
Below is the written script of Practically Perfect , a two-person show about growing up Queer and trying to be perfect. The show was the only in-person show of the HopKins Black Box 2020 – 2021 season; opening in April 2021 for three outdoor performances under a tent on a cement stage in the Louisiana rain. The audience was seated under the tent and socially distanced in lawn chairs on the concrete. Some staging and reactions varied from performance to performance, as is often the case with personal nar-rative performances.
{"title":"Practically Perfect","authors":"E. Hunter, Ariel Kizer","doi":"10.1080/10462937.2022.2045032","DOIUrl":"https://doi.org/10.1080/10462937.2022.2045032","url":null,"abstract":"Below is the written script of Practically Perfect , a two-person show about growing up Queer and trying to be perfect. The show was the only in-person show of the HopKins Black Box 2020 – 2021 season; opening in April 2021 for three outdoor performances under a tent on a cement stage in the Louisiana rain. The audience was seated under the tent and socially distanced in lawn chairs on the concrete. Some staging and reactions varied from performance to performance, as is often the case with personal nar-rative performances.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"43 1","pages":"70 - 81"},"PeriodicalIF":0.5,"publicationDate":"2022-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47875042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-16DOI: 10.1080/10462937.2022.2036803
L. Pierce
ABSTRACT This essay argues that Dave Chappelle’s 2019 Netflix comedy special Sticks & Stones is a staging of the Black Radical Tragic in which Chappelle performs without resolving the tension between Black revolutionary leadership and the mass-based concerns necessary for collective mobilization. Chappelle maintains the tragic dialectic through two modes of performance: the inscription of Black men and ethopoeia, or impersonation, reserved for the Others. However, that dialectic fails in key points as Chappelle’s Others, particularly Black women, are simultaneously inscribed and impersonated, revealing the impossibility of inscribing Black men against threats to liberation.
{"title":"Dave Chappelle’s Sticks and Stones as Black Radical Tragic comedy","authors":"L. Pierce","doi":"10.1080/10462937.2022.2036803","DOIUrl":"https://doi.org/10.1080/10462937.2022.2036803","url":null,"abstract":"ABSTRACT This essay argues that Dave Chappelle’s 2019 Netflix comedy special Sticks & Stones is a staging of the Black Radical Tragic in which Chappelle performs without resolving the tension between Black revolutionary leadership and the mass-based concerns necessary for collective mobilization. Chappelle maintains the tragic dialectic through two modes of performance: the inscription of Black men and ethopoeia, or impersonation, reserved for the Others. However, that dialectic fails in key points as Chappelle’s Others, particularly Black women, are simultaneously inscribed and impersonated, revealing the impossibility of inscribing Black men against threats to liberation.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"126 - 143"},"PeriodicalIF":0.5,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48098416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-11DOI: 10.1080/10462937.2022.2033825
Chandler L. Classen
ABSTRACT As humanity fades into the shadows, the toxic detritus certain humans have wrought has no intention of giving up its potent affects. Recognizing that our waste lives beyond us, we have an ethical mandate to consider (at minimum) warning future species about dangerous matter created in the Anthropocene. Nuclear storage facilities (both planned and imagined) re-mark the nuclear danger sign, not with the concern of immediate danger, but as an object of hopeful immortality dedicated to saving future inhabitants of planet Earth (be they human or non-human). The challenge of the danger sign is two-fold: will it be understood; will it last? Inspired by these questions, this essay considers how communicative and performative endeavors radiate into deep time.
{"title":"Communication at the end of the world: affective material performativity and the nuclear danger sign","authors":"Chandler L. Classen","doi":"10.1080/10462937.2022.2033825","DOIUrl":"https://doi.org/10.1080/10462937.2022.2033825","url":null,"abstract":"ABSTRACT As humanity fades into the shadows, the toxic detritus certain humans have wrought has no intention of giving up its potent affects. Recognizing that our waste lives beyond us, we have an ethical mandate to consider (at minimum) warning future species about dangerous matter created in the Anthropocene. Nuclear storage facilities (both planned and imagined) re-mark the nuclear danger sign, not with the concern of immediate danger, but as an object of hopeful immortality dedicated to saving future inhabitants of planet Earth (be they human or non-human). The challenge of the danger sign is two-fold: will it be understood; will it last? Inspired by these questions, this essay considers how communicative and performative endeavors radiate into deep time.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"144 - 164"},"PeriodicalIF":0.5,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41332179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-20DOI: 10.1080/10462937.2022.2026456
D. Bhattacharjee
ABSTRACT This essay uses Roman Ingarden’s concept of Nebentext to study the semiotic function of the textual stage directions in Girish Karnad’s play Hayavadana. Approaching the Nebentext as the signifier and the mind of the audience/reader as the space where the signified is formed, this essay will study the stage directions in Hayavadana to see as to how the play text can function as a medium to convey Karnad’s theatrical perception and suggest the performance potential of the play. It tries to unravel the technique by which Karnad creates scope for reader’s/audience’s participation thereby widening the role of the Nebentext.
{"title":"The stage in the page: analyzing the significance of the Nebentext in Girish Karnad’s play Hayavadana","authors":"D. Bhattacharjee","doi":"10.1080/10462937.2022.2026456","DOIUrl":"https://doi.org/10.1080/10462937.2022.2026456","url":null,"abstract":"ABSTRACT This essay uses Roman Ingarden’s concept of Nebentext to study the semiotic function of the textual stage directions in Girish Karnad’s play Hayavadana. Approaching the Nebentext as the signifier and the mind of the audience/reader as the space where the signified is formed, this essay will study the stage directions in Hayavadana to see as to how the play text can function as a medium to convey Karnad’s theatrical perception and suggest the performance potential of the play. It tries to unravel the technique by which Karnad creates scope for reader’s/audience’s participation thereby widening the role of the Nebentext.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"180 - 197"},"PeriodicalIF":0.5,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43292999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-17DOI: 10.1080/10462937.2022.2026457
J. Spiegel
ABSTRACT 2020 may well become known as the year of the mask, harkening to an omnipresent threat of molecular contagion and trans-corporeal intermingling. This article traces the ways in which bodies materially relate and co-constituted one another over the course of the first year of the Covid-19 pandemic. Highlighting the role of a virus in reshaping human social interaction and “self”-presentation, “everyday performance” with face-masks is posited as a way of simultaneously altering material processes of contagion while making perceptible the ethical relations and commitments that shape these processes.
{"title":"The viral politics of masks: pandemic resistance and ontological performance","authors":"J. Spiegel","doi":"10.1080/10462937.2022.2026457","DOIUrl":"https://doi.org/10.1080/10462937.2022.2026457","url":null,"abstract":"ABSTRACT 2020 may well become known as the year of the mask, harkening to an omnipresent threat of molecular contagion and trans-corporeal intermingling. This article traces the ways in which bodies materially relate and co-constituted one another over the course of the first year of the Covid-19 pandemic. Highlighting the role of a virus in reshaping human social interaction and “self”-presentation, “everyday performance” with face-masks is posited as a way of simultaneously altering material processes of contagion while making perceptible the ethical relations and commitments that shape these processes.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"111 - 125"},"PeriodicalIF":0.5,"publicationDate":"2022-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47956002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1080/10462937.2021.2003851
Natalie Marshall
ABSTRACT This paper explores the performance of spoken word poetry at three venues in East London through an attention to the ways in which participants experience and conceptualize these expressive events. Drawing from observation at events and interviews with performers, this paper illuminates the most commonly reported motivations behind the uptake of this genre of performance: achieving emotional healing and providing coping tools to others. By investigating these motivations, this paper considers how spoken word performance can become a personal and collective process of care, where performers overcome individual struggle through shifting bodily orientations and attitudes, while attuning affectively with others through pedagogical caretaking relations.
{"title":"Poetic care: the orientations and relations of spoken word performance at three venues in East London","authors":"Natalie Marshall","doi":"10.1080/10462937.2021.2003851","DOIUrl":"https://doi.org/10.1080/10462937.2021.2003851","url":null,"abstract":"ABSTRACT This paper explores the performance of spoken word poetry at three venues in East London through an attention to the ways in which participants experience and conceptualize these expressive events. Drawing from observation at events and interviews with performers, this paper illuminates the most commonly reported motivations behind the uptake of this genre of performance: achieving emotional healing and providing coping tools to others. By investigating these motivations, this paper considers how spoken word performance can become a personal and collective process of care, where performers overcome individual struggle through shifting bodily orientations and attitudes, while attuning affectively with others through pedagogical caretaking relations.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"165 - 179"},"PeriodicalIF":0.5,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48207050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-13DOI: 10.1080/10462937.2021.2000631
Cassidy D. Ellis
ABSTRACT This essay identifies a specific monster in U.S. American culture: the Abortion Monster. I demonstrate how abortion patients and providers are constructed as monstrous by anti-abortion rhetoric. I argue that anti-abortion rhetoric is not only about the decision to end or continue a pregnancy, rather it is a response to perceived deviation from performances of White heteropatriarchy. Abortion Monsters’ rejection of hegemonic identity performances and/or their inability to embody such performances threatens and queerly reimagines heteronormative White supremacist norms. I demonstrate how performance scholarship is a space to explore the bodily imperatives and material implications of monstrosity in everyday life.
{"title":"“Doctors Don’t Kill Babies! Monsters Do!”: using performance and personal narrative to identify the U.S. Abortion Monster","authors":"Cassidy D. Ellis","doi":"10.1080/10462937.2021.2000631","DOIUrl":"https://doi.org/10.1080/10462937.2021.2000631","url":null,"abstract":"ABSTRACT This essay identifies a specific monster in U.S. American culture: the Abortion Monster. I demonstrate how abortion patients and providers are constructed as monstrous by anti-abortion rhetoric. I argue that anti-abortion rhetoric is not only about the decision to end or continue a pregnancy, rather it is a response to perceived deviation from performances of White heteropatriarchy. Abortion Monsters’ rejection of hegemonic identity performances and/or their inability to embody such performances threatens and queerly reimagines heteronormative White supremacist norms. I demonstrate how performance scholarship is a space to explore the bodily imperatives and material implications of monstrosity in everyday life.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"67 - 82"},"PeriodicalIF":0.5,"publicationDate":"2021-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43626996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-13DOI: 10.1080/10462937.2021.2001562
Şeyda Nur Yıldırım
ABSTRACT Although terrorism has a complex genealogy as a political concept, contemporary discussions on “new terrorism” use a reductionist discourse on the legitimacy of violence. In this article, I discuss the “performativity” of terrorism – its repetitive, citational, and necessarily discursive composition within the established social system – in the context of Pornography (2007) by Simon Stephens. I argue that subversion of conventional playwriting techniques in Pornography reveals the complex social and political dynamics that continually refigure terrorism as the counter-image of war.
{"title":"The performativity of terrorism: subversive experimentalist techniques in Pornography (2007) by Simon Stephens","authors":"Şeyda Nur Yıldırım","doi":"10.1080/10462937.2021.2001562","DOIUrl":"https://doi.org/10.1080/10462937.2021.2001562","url":null,"abstract":"ABSTRACT Although terrorism has a complex genealogy as a political concept, contemporary discussions on “new terrorism” use a reductionist discourse on the legitimacy of violence. In this article, I discuss the “performativity” of terrorism – its repetitive, citational, and necessarily discursive composition within the established social system – in the context of Pornography (2007) by Simon Stephens. I argue that subversion of conventional playwriting techniques in Pornography reveals the complex social and political dynamics that continually refigure terrorism as the counter-image of war.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"34 - 48"},"PeriodicalIF":0.5,"publicationDate":"2021-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42720568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-27DOI: 10.1080/10462937.2021.1993318
S. Swafford
ABSTRACT This essay explores a feminist aesthetics of performative autoethnography. I trace the connections between performance studies and feminist body-writing practices and argue for the creative double bind as a heuristic for negotiating the “pleasurable tensions” between body/paper/stage. Locating these connections and tensions in my autoethnographic performance work, I articulate three double binds – material/social, personal/political, and aesthetic/ethic – that illustrate the “women’s work” of feminist performative autoethnography.
{"title":"Embodying/writing/performing “women’s work”: pleasurable tensions and double binds of feminist performative autoethnography","authors":"S. Swafford","doi":"10.1080/10462937.2021.1993318","DOIUrl":"https://doi.org/10.1080/10462937.2021.1993318","url":null,"abstract":"ABSTRACT This essay explores a feminist aesthetics of performative autoethnography. I trace the connections between performance studies and feminist body-writing practices and argue for the creative double bind as a heuristic for negotiating the “pleasurable tensions” between body/paper/stage. Locating these connections and tensions in my autoethnographic performance work, I articulate three double binds – material/social, personal/political, and aesthetic/ethic – that illustrate the “women’s work” of feminist performative autoethnography.","PeriodicalId":46504,"journal":{"name":"Text and Performance Quarterly","volume":"42 1","pages":"1 - 16"},"PeriodicalIF":0.5,"publicationDate":"2021-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45557649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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