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Author: Kellen Hoxworth
Publisher: Northwestern University Press
ISBN: 0810147092
Category : Performing Arts
Languages : en
Pages : 281
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Book Description
A sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Kellen Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice’s “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale.
Author: Kellen Hoxworth
Publisher: Northwestern University Press
ISBN: 0810147092
Category : Performing Arts
Languages : en
Pages : 281
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Book Description
A sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Kellen Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice’s “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale.
Author: Matthew D. Morrison
Publisher: Univ of California Press
ISBN: 0520390601
Category : Music
Languages : en
Pages : 324
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Book Description
A new concept for understanding the history of the American popular music industry. Blacksound explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake—for creators and audiences alike—in revisiting the long history of American popular music.
Author: Bethany Hughes
Publisher: NYU Press
ISBN: 1479829390
Category : Art
Languages : en
Pages : 288
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Book Description
"Redface is the first book to consider Native American representation in U.S. theatre, how creating a racialized character severely constrains Indigenous nationhood and sovereignty, and what steps could be taken to address the challenges of representing Indigenous people on the stage"--
Author: Jennifer Atkins
Publisher: Taylor & Francis
ISBN: 1000904547
Category : Performing Arts
Languages : en
Pages : 377
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Book Description
This innovative textbook applies basic dance history and theory to contemporary popular culture examples in order to examine our own ways of moving in—and through—culture. By drawing on material relevant to students, Dance in US Popular Culture successfully introduces students to critical thinking around the most personal of terrain: our bodies and our identities. The book asks readers to think about: what embodied knowledge we carry with us and how we can understand history and society through that lens what stereotypes and accompanying expectations are embedded in performance, related to gender and/or race, for instance how such expectations are reinforced, negotiated, challenged, embraced, or rescripted by performers and audiences how readers articulate their own sense of complex identity within the constantly shifting landscape of popular culture, how this shapes an active sense of their everyday lives, and how this can act as a springboard towards dismantling systems of oppression Through readings, questions, movement analyses, and assignment prompts that take students from computer to nightclub and beyond, Dance in US Popular Culture readers develop their own cultural sense of dance and the moving body’s sociopolitical importance while also determining how dance is fundamentally applicable to their own identity. This is the ideal textbook for high school and undergraduate students of dance and dance studies in BA and BfA courses, as well as those studying popular culture from interdisciplinary perspectives including cultural studies, media studies, communication studies, theater and performance studies. Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution CC-BY 4.0 license.
Author: Yana Meerzon
Publisher: Springer Nature
ISBN: 3031201965
Category : Performing Arts
Languages : en
Pages : 768
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Book Description
The Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration.
Author: Harshita Mruthinti Kamath
Publisher: University of Hawaii Press
ISBN: 0824894103
Category : Performing Arts
Languages : en
Pages : 305
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Book Description
Through an exploration of subjects such as Gandhi impersonators, performance artists, and ritual participants, Mimetic Desires makes an intervention toward understanding the phenomenon of impersonation and guising in South Asia and the world. This volume defines impersonation as the temporary assumption of an identity or guise in social and aesthetic performance that is perceived as not one’s own, and guising as sartorial and kinetic play more generally. Interrogating the legitimacy of the purported dialectic between the “real/original” and “fake/dupe,” Mimetic Desires refutes the ordering of identity along the lines of a binary or dichotomy that presupposes the myth of an original identity. By peeling back the layers of performative masks to reveal the process of the masquerade itself, we can see that those with the most social capital are often those with the most power and opportunities to impersonate “up” and “down” social hierarchies. The book’s twelve chapters disclose sites and processes of sociopolitical power facilitated by normative markers of social status relating to race, ethnicity, gender, caste, class, and religion—and how those markers can be manipulated to express and enhance individual and group power. The first comprehensive study to focus on impersonation in South Asia, Mimetic Desires expands on previous scholarship on impersonation and guising in vernacular theatre, dance, public processions, and religious rituals. It is particularly in conversation with the robust scholarship on gender performance in South Asia’s theatrical and dance forms. Mimetic Desires explores some of the contexts and forms of impersonation in South Asia, with its remarkable array of performing arts, to gain insight into the very human and quotidian practices of impersonation and guising.
Author: Catherine Burroughs
Publisher: Taylor & Francis
ISBN: 1000815986
Category : Performing Arts
Languages : en
Pages : 745
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Book Description
The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism is the first wide-ranging anthology of theatre theory and dramatic criticism by women writers. Reproducing key primary documents contextualized by short essays, the collection situates women’s writing within, and also reframes the field’s male-defined and male-dominated traditions. Its collection of documents demonstrates women’s consistent and wide-ranging engagement with writing about theatre and performance and offers a more expansive understanding of the forms and locations of such theoretical and critical writing, dealing with materials that often lie outside established production and publication venues. This alternative tradition of theatre writing that emerges allows contemporary readers to form new ways of conceptualizing the field, bringing to the fore a long-neglected, vibrant, intelligent, deeply informed, and expanded canon that generates a new era of scholarship, learning, and artistry. The Routledge Anthology of Women's Theatrical Theory and Dramatic Criticism is an important intervention into the fields of Theatre and Performance Studies, Literary Studies, and Cultural History, while adding new dimensions to Feminist, Gender and Sexuality Studies.
Author: Macelle Mahala
Publisher: Northwestern University Press
ISBN: 0810145162
Category : Performing Arts
Languages : en
Pages : 355
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Book Description
Macelle Mahala’s rich study of contemporary African American theater institutions reveals how they reflect and shape the histories and cultural realities of their cities. Arguing that the community in which a play is staged is as important to the work’s meaning as the script or set, Mahala focuses on four cities’ “arts ecologies” to shed new light on the unique relationship between performance and place: Cleveland, home to the oldest continuously operating Black theater in the country; Pittsburgh, birthplace of the legendary playwright August Wilson; San Francisco, a metropolis currently experiencing displacement of its Black population; and Atlanta, a city with forty years of progressive Black leadership and reverse migration. Black Theater, City Life looks at Karamu House Theatre, the August Wilson African American Cultural Center, Pittsburgh Playwrights’ Theatre Company, the Lorraine Hansberry Theatre, the African American Shakespeare Company, the Atlanta Black Theatre Festival, and Kenny Leon’s True Colors Theatre Company to demonstrate how each organization articulates the cultural specificities, sociopolitical realities, and histories of African Americans. These companies have faced challenges that mirror the larger racial and economic disparities in arts funding and social practice in America, while their achievements exemplify such institutions’ vital role in enacting an artistic practice that reflects the cultural backgrounds of their local communities. Timely, significant, and deeply researched, this book spotlights the artistic and civic import of Black theaters in American cities.
Author: Michael Brocken
Publisher: Rowman & Littlefield
ISBN: 1498574475
Category : Music
Languages : en
Pages : 353
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Book Description
This extensively researched text concerning the life and career of Liverpool-born Black jazz musician Gordon Stretton not only contributes to the important debate concerning the transoceanic pathways of jazz during the 20th century, but also suggests to the jazz fan and scholar alike that such pathways, reaching as they also did across the Atlantic from Europe, are actually part of a largely ignored therefore partially-hidden history of 20th century jazz performance, industry and influence. The work also exists to contribute to a more complete picture of the significance of diaspora studies across the spectrum of popular music performance, and to award to those Liverpool musicians who were not contributors to the city’s musical visage post-rock ‘n’ roll, a place in popular music history. Gordon Stretton was a jazz pioneer in several senses: he emerged from a poverty-stricken, racially marginalized upbringing in Liverpool to develop a popular music career emblematic of Black diasporan experience. He was a child dancer and singer in the Lancashire Lads (the troupe which was also part of a young Charlie Chaplin’s development), a well-respected solo touring artist in the UK as ‘The Natural Artistic Coon’, a chorister and musical director with the Jamaican Choral Union and, having encountered syncopated music, a jazz percussionist, multi-instrumentalist and vocalist (not to mention a ground-breaking bandleader). All of these musical experiences took place through time on his own terms as he learnt his craft ‘on the hoof’ via many different encounters with musical genres from Liverpool to London, Paris, Brussels, Rio, and Buenos Aires. Gordon Stretton was truly a transoceanic jazz pioneer.
Author: Lindsay Brandon Hunter
Publisher: Northwestern University Press
ISBN: 0810143070
Category : Performing Arts
Languages : en
Pages : 266
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Book Description
Playing Real: Mimesis, Media, and Mischief explores the integration and interaction of mimetic theatricality and representational media in twentieth- and twenty‐first-century performance. It brings together carefully chosen sites of performance—including live broadcasts of theatrical productions, reality television, and alternate-reality gaming—in which mediatization and mimesis compete and collude to represent the real to audiences. Lindsay Brandon Hunter reads such performances as forcing confrontation between notions of authenticity, sincerity, and spontaneity and their various others: the fake, the feigned, the staged, or the rehearsed. Each site examined in Playing Real purports to show audiences something real—real theater, real housewives, real alternative scenarios—which is simultaneously visible as overtly constructed, adulterated by artifice and artificiality. The integration of mediatization and theatricality in these performances, Hunter argues, exploits the proclivities of both to conjure the real even as they risk corrupting the perception of authenticity by imbricating it with artifice and overt manipulation. Although the performances analyzed obscure boundaries separating actual from virtual, genuine from artificial, and truth from fiction, Hunter rejects the notion that these productions imperil the “real.” She insists on uncertainty as a fertile site for productive and pleasurable mischief—including relationships to realness and authenticity among both audience and participants.
