Scripts of Blackness


Book Description

Scripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism. In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques—black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)—in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constituted resources, as they provided spectators and participants with new ways of thinking about the Afro-diasporic people who lived or could/would ultimately live in their midst. Those scripts were often gendered and hinged on notions of demonization, exclusion, exploitation, animalization, commodification, sexualization, consensual enslavement, misogynoir, infantilization, and evocative association with other racialized minorities. Scripts of Blackness attempts to grasp the stories that Western Europeans told themselves through performative blackness, and the effects of those fictions on early modern Afro-diasporic subjects.




Scripts of Blackness


Book Description

The geopolitical influence of the United States informs the processes of racialization in Puerto Rico, including the construction of black places. In Scripts of Blackness, Isar P. Godreau explores how Puerto Rican national discourses about race--created to overcome U.S. colonial power--simultaneously privilege whiteness, typecast blackness, and silence charges of racism. Based on an ethnographic study of the barrio of San Antón in the city of Ponce, Scripts of Blackness examines institutional and local representations of blackness as developing from a power-laden process that is inherently selective and political, not neutral or natural. Godreau traces the presumed benevolence or triviality of slavery in Puerto Rico, the favoring of a Spanish colonial whiteness (under a hispanophile discourse), and the insistence on a harmonious race mixture as discourses that thrive on a presumed contrast with the United States that also characterize Puerto Rico as morally superior. In so doing, she outlines the debates, social hierarchies, and colonial discourses that inform the racialization of San Antón and its residents as black. Mining ethnographic materials and anthropological and historical research, Scripts of Blackness provides powerful insights into the critical political, economic, and historical context behind the strategic deployment of blackness, whiteness, and racial mixture.




Solo/black/woman


Book Description

"This collection features seven solo performance scripts by black feminist performance artists from the past three decades. The scripts are accompanied by interviews with the artists and critical essays, as well as a DVD showcasing the performances."--Page 4 of cover.




Swan on a Black Sea


Book Description

Swan on a Black Sea is Geraldine Cummins final book which was first published in 1965. The book is an account - an afterlife communication, from the British suffragette and philanthropist, Winifred Margaret Coombe Tennant who passed away in 1956 and first communicated with Cummins in 1957. Coombe Tennant communicated through Cummins using automatic writing; the object being to let her sons know she was still very much alive in the spirit world. The communications are made up of 40 scripts which were communicated between 1957-1960 Throughout her life Coombe Tennant was a talented medium but due to her professional and social standing, she choose to keep her gift a secret from all but a handful of friends, and anonymously she practiced her mediumship under the pseudonym, Mrs. Willet. Her sitters included Sir Oliver Lodge, the renowned British scientist who devoted much of his life to psychical research, and a select number of senior members of the Society for Psychical Research. Relaying her experiences as a travel writer might, reporting back from a distant land, she describes her ability to travel back and forth in time. It's as if her physical life is a film and she is able to "go into her film" at any time or place and examine her physical life - a life review or judgment some might conclude. On October 29, 1958 (script 32) she addressed her skeptical son Henry who was still alive at the time and was finding it difficult to accept that his dead mother was communicating, 'There is a dream sweetness about my present state or place. Yet my environment is familiar and totally real. I live in an existence in form both in human etheric forms and surroundings such as in outline nature and man provide. Yet I can be of them and not of them. I am not wedded to them or welded into them. One's mind can govern and alter conditions in a manner not possible on earth. That is, if one exerts oneself, makes an effort. 'At present I am at home again in the long ago of Wales. You remember my break in life through your father's death. You may recall how I went to live in London in a flat. All that period is not my present environment. 'I am back again in my married life. It is different, though in appearance to my perceptions it is the same outer world of reason, order and sensible arrangements. But it is different, humanly speaking. I am much with Christopher, who is a darling, while your father pairs off with Daff. That is a new experience to me. 'What is novel also is that I appear to be in a kind of kindergarten and in my working hours I relive in memory what earth time has snatched away from me. So in the study of memory I do not remain at Cadoxton. I enter the film of past events and make excursions into different times in my past earth life so as to assimilate it. The scripts are essentially an afterlife memoir of Winifred Coombe Tennant; they provide a fascinating insight into her world beyond the grave and are essential reading for anyone interested in psychical research and life after death.




Real Black


Book Description

New York's urban neighborhoods are full of young would-be emcees who aspire to "keep it real" and restaurants like Sylvia's famous soul food eatery that offer a taste of "authentic" black culture. In these and other venues, authenticity is considered the best way to distinguish the real from the phony, the genuine from the fake. But in Real Black, John L. Jackson Jr. proposes a new model for thinking about these issues--racial sincerity. Jackson argues that authenticity caricatures identity as something imposed on people, imprisoning them within stereotypes--turning them into racial objects and inanimate things, instead of living, breathing human beings. Contending that such assumptions deny people agency--not to mention humanity--in their search for identity, Jackson counterposes sincerity, an internal and more productive analytical model for thinking about race. Moving in and around Harlem and Brooklyn, Jackson offers a kaleidoscope of subjects and stories that directly and indirectly address how race is negotiated in today's world--including tales of name-changing hip-hop emcees, book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and high-school gospel choirs forbidden to catch the Holy Ghost. Enlisting "Anthroman," his cape-crusading critical alter ego, Jackson records and retells these interconnected sagas in virtuosic detail and, in the process, shows us how race is defined and debated, imposed and confounded every single day.




Scripting the Black Masculine Body


Book Description

Traces the origins of Black body politics in the United States and its contemporary manifestations in hip-hop music and film.




Yellow: Race In America Beyond Black And White


Book Description

A leading voice in the Asian American community tackles what it means to be Asian American in contemporary America. This explosive book examines the current state of civil rights in the U.S. through the unique experiences of Asian Americans and how they view the democratic process.




Oreo


Book Description

A pioneering, dazzling satire about a biracial black girl from Philadelphia searching for her Jewish father in New York City Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.




Richard Durham's Destination Freedom


Book Description

"This volume consists of the fifteen most important Destination Freedom scripts, each introduced with a short history of the subject matter and consideration of the script within Durham's intellectual world view. This incisive work also includes an introductory chapter by MacDonald, a noted scholar on the history of radio broadcasting, which traces Durham's professional history, the history of blacks in radio, and the place of Destination Freedom in the current of late 1940s politics"--Amazon.com.




How Race Is Made in America


Book Description

How Race Is Made in America examines Mexican AmericansÑfrom 1924, when American law drastically reduced immigration into the United States, to 1965, when many quotas were abolishedÑto understand how broad themes of race and citizenship are constructed. These years shaped the emergence of what Natalia Molina describes as an immigration regime, which defined the racial categories that continue to influence perceptions in the United States about Mexican Americans, race, and ethnicity. Molina demonstrates that despite the multiplicity of influences that help shape our concept of race, common themes prevail. Examining legal, political, social, and cultural sources related to immigration, she advances the theory that our understanding of race is socially constructed in relational waysÑthat is, in correspondence to other groups. Molina introduces and explains her central theory, racial scripts, which highlights the ways in which the lives of racialized groups are linked across time and space and thereby affect one another. How Race Is Made in America also shows that these racial scripts are easily adopted and adapted to apply to different racial groups.