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Black Performance on the Outskirts of the Left - Malik Gaines - Bog - New York University Press - Plusbog.dk

Black Performance on the Outskirts of the Left - Malik Gaines - Bog - New York University Press - Plusbog.dk

Articulates the role black theatricality played in the radical energy of the sixties Black Performance on the Outskirts of the Left illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s. These ideas paved the way for imaginative models for social transformation through performance. Using the notion of excess—its transgression, multiplicity, and ambivalence—Malik Gaines considers how performances of that era circulated a black political discourse capable of unsettling commonplace understandings of race, gender, and sexuality. Following the transnational route forged by W.E.B. Du Bois, Josephine Baker, and other modern political actors, from the United States to West Africa, Europe and back, this book considers how artists negotiated at once the local, national, and diasporic frames through which race has been represented. Looking broadly at performances found in music, theater, film, and everyday life—from American singer and pianist Nina Simone, Ghanaian playwrights Efua Sutherland and Ama Ata Aidoo, Afro-German actor Günther Kaufmann, to California-based performer Sylvester—Gaines explores how shared signs of racial legacy and resistance politics are articulated with regional distinction. Bringing the lens forward through contemporary art performance at the 2015 Venice Biennial, Gaines connects the idea of sixties radicality to today’s interest in that history, explores the aspects of those politics that are lost in translation, and highlights the black expressive strategies that have maintained potent energy. Black Performance on the Outskirts of the Left articulates the role black theatricality played in the radical energy of the sixties, following the evolution of black identity politics to reveal blackness’s ability to transform contemporary social conditions.

DKK 772.00
1

Embodied Avatars - Uri Mcmillan - Bog - New York University Press - Plusbog.dk

Embodied Avatars - Uri Mcmillan - Bog - New York University Press - Plusbog.dk

How black women have personified art,expression,identity, and freedom through performance Winner, 2016 William Sanders Scarborough Prize, presented by the Modern Language Association for an outstanding scholarly study of African American literature or culture Winner, 2016 Barnard Hewitt Award for Outstanding Research in Theatre History, presented by the American Society for Theatre ResearchWinner, 2016 Errol Hill Award for outstanding scholarship in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment.McMillan reframes the concept of the avatar in the service of black performance art, describing black women performers’ skillful manipulation of synthetic selves and adroit projection of their performances into other representational mediums. A bold rethinking of performance art, Embodied Avatars analyzes daring performances of alterity staged by “ancient negress” Joice Heth and fugitive slave Ellen Craft, seminal artists Adrian Piper and Howardena Pindell, and contemporary visual and music artists Simone Leigh and Nicki Minaj. Fusing performance studies with literary analysis and visual culture studies, McMillan offers astute readings of performances staged in theatrical and quotidian locales, from freak shows to the streets of 1970s New York; in literary texts, from artists’ writings to slave narratives; and in visual and digital mediums, including engravings, photography, and video art. Throughout, McMillan reveals how these performers manipulated the dimensions of objecthood, black performance art, and avatars in a powerful re-scripting of their bodies while enacting artful forms of social misbehavior.The Critical Lede interview with Uri McMillan

DKK 772.00
1

Embodied Avatars - Uri Mcmillan - Bog - New York University Press - Plusbog.dk

Embodied Avatars - Uri Mcmillan - Bog - New York University Press - Plusbog.dk

How black women have personified art,expression,identity, and freedom through performance Winner, 2016 William Sanders Scarborough Prize, presented by the Modern Language Association for an outstanding scholarly study of African American literature or culture Winner, 2016 Barnard Hewitt Award for Outstanding Research in Theatre History, presented by the American Society for Theatre ResearchWinner, 2016 Errol Hill Award for outstanding scholarship in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment.McMillan reframes the concept of the avatar in the service of black performance art, describing black women performers’ skillful manipulation of synthetic selves and adroit projection of their performances into other representational mediums. A bold rethinking of performance art, Embodied Avatars analyzes daring performances of alterity staged by “ancient negress” Joice Heth and fugitive slave Ellen Craft, seminal artists Adrian Piper and Howardena Pindell, and contemporary visual and music artists Simone Leigh and Nicki Minaj. Fusing performance studies with literary analysis and visual culture studies, McMillan offers astute readings of performances staged in theatrical and quotidian locales, from freak shows to the streets of 1970s New York; in literary texts, from artists’ writings to slave narratives; and in visual and digital mediums, including engravings, photography, and video art. Throughout, McMillan reveals how these performers manipulated the dimensions of objecthood, black performance art, and avatars in a powerful re-scripting of their bodies while enacting artful forms of social misbehavior.The Critical Lede interview with Uri McMillan

DKK 306.00
1

Ricanness - Sandra Ruiz - Bog - New York University Press - Plusbog.dk

Ricanness - Sandra Ruiz - Bog - New York University Press - Plusbog.dk

Honorable Mention, 2020 Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre ResearchArgues that Ricanness operates as a continual performance of bodily endurance against US colonialismIn 1954, Dolores “Lolita” Lebrón and other members of the Puerto Rican Nationalist Party led a revolutionary action on the chambers of Congress, firing several shots at the ceiling and calling for the independence of the island. Ricanness: Enduring Time in Anticolonial Performance begins with Lebrón’s vanguard act, distilling the relationship between Puerto Rican subjectivity, gender, sexuality, and revolutionary performance under colonial time. Ruiz argues that Ricanness—a continual performance of bodily endurance against US colonialism through different measures of time—uncovers what’s at stake politically for the often unwanted, anticolonial, racialized and sexualized enduring body. Moving among theatre, experimental video, revolutionary protest, photography, poetry, and durational performance art, Ricanness stages scenes in which the philosophical, social, and psychic come together at the site of aesthetics, against the colonization of time. Analyzing the work of artists and revolutionaries like ADÁL, Lebrón, Papo Colo, Pedro Pietri, and Ryan Rivera, Ricanness imagines a Rican future through the time travel extended in their aesthetic interventions, illustrating how they have reformulated time itself through nonlinear aesthetic practices.

DKK 674.00
1

The Queer Nuyorican - Karen Jaime - Bog - New York University Press - Plusbog.dk

The Queer Nuyorican - Karen Jaime - Bog - New York University Press - Plusbog.dk

Finalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research. Silver Medal Winner of The Victor Villaseñor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards . Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards. A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City’s Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet “Nuyorican,” as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term “Nuyorican” shifted from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.

DKK 772.00
1

The Queer Nuyorican - Karen Jaime - Bog - New York University Press - Plusbog.dk

The Queer Nuyorican - Karen Jaime - Bog - New York University Press - Plusbog.dk

Finalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research. Silver Medal Winner of The Victor Villaseñor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards . Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards. A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City’s Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet “Nuyorican,” as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term “Nuyorican” shifted from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.

DKK 254.00
1

Realist Ecstasy - Lindsay V. Reckson - Bog - New York University Press - Plusbog.dk

Realist Ecstasy - Lindsay V. Reckson - Bog - New York University Press - Plusbog.dk

Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.

DKK 772.00
1

Realist Ecstasy - Lindsay V. Reckson - Bog - New York University Press - Plusbog.dk

Realist Ecstasy - Lindsay V. Reckson - Bog - New York University Press - Plusbog.dk

Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.

DKK 270.00
1

A Race So Different - Joshua Chambers Letson - Bog - New York University Press - Plusbog.dk

A Race So Different - Joshua Chambers Letson - Bog - New York University Press - Plusbog.dk

Winner of the 2014 Outstanding Book Award presented by the Association for Theatre in Higher Education Taking a performance studies approach to understanding Asian American racial subjectivity, Joshua Takano Chambers-Letson argues that the law influences racial formation by compelling Asian Americans to embody and perform recognizable identities in both popular aesthetic forms (such as theater, opera, or rock music) and in the rituals of everyday life. Tracing the production of Asian American selfhood from the era of Asian Exclusion through the Global War on Terror, A Race So Different explores the legal paradox whereby U.S. law apprehends the Asian American body as simultaneously excluded from and included within the national body politic.Bringing together broadly defined forms of performance, from artistic works such as Madame Butterfly to the Supreme Court’s oral arguments in the Cambodian American deportation cases of the twenty-first century, this book invites conversation about how Asian American performance uses the stage to document, interrogate, and complicate the processes of racialization in U.S. law. Through his impressive use of a rich legal and cultural archive, Chambers-Letson articulates a robust understanding of the construction of social and racial realities in the contemporary United States.

DKK 278.00
1

The Art of Confession - Christopher Grobe - Bog - New York University Press - Plusbog.dk

The Art of Confession - Christopher Grobe - Bog - New York University Press - Plusbog.dk

The story of a new style of art—and a new way of life—in postwar America: confessionalism. What do midcentury “confessional” poets have in common with today’s reality TV stars? They share an inexplicable urge to make their lives an open book, and also a sense that this book can never be finished. Christopher Grobe argues that, in postwar America, artists like these forged a new way of being in the world. Identity became a kind of work—always ongoing, never complete—to be performed on the public stage. The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and ’60s, performance art in the ’70s, theater in the ’80s, television in the ’90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed book. Instead of just publishing, these artists performed—with, around, and against the text of their lives. A blend of cultural history, literary criticism, and performance theory, The Art of Confession explores iconic works of art and draws surprising connections among artists who may seem far apart, but who were influenced directly by one another. Studying extraordinary art alongside ordinary experiences of self-betrayal and -revelation, Christopher Grobe argues that a tradition of “confessional performance” unites poets with comedians, performance artists with social media users, reality TV stars with actors—and all of them with us. There is art, this book shows, in our most artless acts.

DKK 283.00
1

The Art of Confession - Christopher Grobe - Bog - New York University Press - Plusbog.dk

The Art of Confession - Christopher Grobe - Bog - New York University Press - Plusbog.dk

The story of a new style of art—and a new way of life—in postwar America: confessionalism. What do midcentury “confessional” poets have in common with today’s reality TV stars? They share an inexplicable urge to make their lives an open book, and also a sense that this book can never be finished. Christopher Grobe argues that, in postwar America, artists like these forged a new way of being in the world. Identity became a kind of work—always ongoing, never complete—to be performed on the public stage. The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and ’60s, performance art in the ’70s, theater in the ’80s, television in the ’90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed book. Instead of just publishing, these artists performed—with, around, and against the text of their lives. A blend of cultural history, literary criticism, and performance theory, The Art of Confession explores iconic works of art and draws surprising connections among artists who may seem far apart, but who were influenced directly by one another. Studying extraordinary art alongside ordinary experiences of self-betrayal and -revelation, Christopher Grobe argues that a tradition of “confessional performance” unites poets with comedians, performance artists with social media users, reality TV stars with actors—and all of them with us. There is art, this book shows, in our most artless acts.

DKK 872.00
1

Deadpan - Tina Post - Bog - New York University Press - Plusbog.dk

Deadpan - Tina Post - Bog - New York University Press - Plusbog.dk

Winner of the 2023 National Book Critics Circle Award for Criticism Winner of the 2023 ASAP Book Prize, given by the Association for the Study of the Arts of the Present Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life.Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness’s deadpan aesthetic within and beyond black embodiments, including Young Jean Lee’s The Shipment and Branden Jacobs-Jenkins’s Neighbors , as well as Buster Keaton’s signature character and Steve McQueen’s restitution of the former’s legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility.

DKK 757.00
1

Brown Boys and Rice Queens - Eng Beng Lim - Bog - New York University Press - Plusbog.dk

Brown Boys and Rice Queens - Eng Beng Lim - Bog - New York University Press - Plusbog.dk

Honorable Mention for the 2015 Cultural Studies Best Book presented by the Association of Asian American Studies Winner of the 2013 CLAGS Fellowship Award for Best First Book Project in LGBT Studies A transnational study of Asian performance shaped by the homoerotics of orientalism, Brown Boys and Rice Queens focuses on the relationship between the white man and the native boy. Eng-Beng Lim unpacks this as the central trope for understanding colonial and cultural encounters in 20th and 21st century Asia and its diaspora. Using the native boy as a critical guide, Lim formulates alternative readings of a traditional Balinese ritual, postcolonial Anglophone theatre in Singapore, and performance art in Asian America.Tracing the transnational formation of the native boy as racial fetish object across the last century, Lim follows this figure as he is passed from the hands of the colonial empire to the postcolonial nation-state to neoliberal globalization. Read through such figurations, the traffic in native boys among white men serves as an allegory of an infantilized and emasculated Asia, subordinate before colonial whiteness and modernity. Pushing further, Lim addresses the critical paradox of this entrenched relationship that resides even within queer theory itself by formulating critical interventions around “Asian performance.”

DKK 278.00
1

Bottoms Up - Xiomara Verenice Cervantes Gomez - Bog - New York University Press - Plusbog.dk

Bottoms Up - Xiomara Verenice Cervantes Gomez - Bog - New York University Press - Plusbog.dk

Proposes a queer way to be in the world and with others Invoking queer aesthetics, ethics, and politics, Bottoms Up explores a sexual way to be with others while living with loss. Xiomara Cervantes-Gómez demonstrates how aesthetic representations of sex—namely, bottoming—function as allegorical paradigms, revealing the assemblages of violence that have constituted the social, cultural, and political shifts of Mexico and US Latinx culture from 1950 to the present.With playful, theoretically nuanced prose, Cervantes-Gómez builds upon queer of color theory and continental philosophy to present the “bottom” as a form of relational performance, which she terms “pasivo ethics.” The argument develops through a series of compelling case studies, including a series of novels by Octavio Paz and Luis Zapata that trace the position of the bottom in Mexican nationalist literature; the forms of exposure, risk, and proximity in the performance work of artist Lechedevirgen Trimegisto; a reading of violence and the erotic in the work of artist Bruno Ramri; and reading artists such as Yosimar Reyes, Yanina Orellana, and Carlos Martiel as they build a framework of sexual inheritance that carries the traumas of Mexicanness into the diaspora.Through a broad archive rooted in hemispheric Latinx performance, Bottoms Up considers how sexual and political power are bound up with each other in the shaping of Mexicanness. Placing particular emphasis on questions of queer and trans Mexican embodiment, the book explains how Mexicanness is constituted through discourses of exposure.

DKK 772.00
1

Bottoms Up - Xiomara Verenice Cervantes Gomez - Bog - New York University Press - Plusbog.dk

Bottoms Up - Xiomara Verenice Cervantes Gomez - Bog - New York University Press - Plusbog.dk

Proposes a queer way to be in the world and with others Invoking queer aesthetics, ethics, and politics, Bottoms Up explores a sexual way to be with others while living with loss. Xiomara Cervantes-Gómez demonstrates how aesthetic representations of sex—namely, bottoming—function as allegorical paradigms, revealing the assemblages of violence that have constituted the social, cultural, and political shifts of Mexico and US Latinx culture from 1950 to the present.With playful, theoretically nuanced prose, Cervantes-Gómez builds upon queer of color theory and continental philosophy to present the “bottom” as a form of relational performance, which she terms “pasivo ethics.” The argument develops through a series of compelling case studies, including a series of novels by Octavio Paz and Luis Zapata that trace the position of the bottom in Mexican nationalist literature; the forms of exposure, risk, and proximity in the performance work of artist Lechedevirgen Trimegisto; a reading of violence and the erotic in the work of artist Bruno Ramri; and reading artists such as Yosimar Reyes, Yanina Orellana, and Carlos Martiel as they build a framework of sexual inheritance that carries the traumas of Mexicanness into the diaspora.Through a broad archive rooted in hemispheric Latinx performance, Bottoms Up considers how sexual and political power are bound up with each other in the shaping of Mexicanness. Placing particular emphasis on questions of queer and trans Mexican embodiment, the book explains how Mexicanness is constituted through discourses of exposure.

DKK 267.00
1

Puro Arte - Lucy Mae San Pablo Burns - Bog - New York University Press - Plusbog.dk

Puro Arte - Lucy Mae San Pablo Burns - Bog - New York University Press - Plusbog.dk

Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present. It stresses the Filipino performing body''s location as it conjoins colonial histories of the Philippines with U.S. race relations and discourses of globalization.Puro arte, translated from Spanish into English, simply means “pure art.” In Filipino, puro arte however performs a much more ironic function, gesturing rather to the labor of over-acting, histrionics, playfulness, and purely over-the-top dramatics. In this book, puro arte functions as an episteme, a way of approaching the Filipino/a performing body at key moments in U.S.-Philippine imperial relations, from the 1904 St. Louis World’s Fair, early American plays about the Philippines, Filipino patrons in U.S. taxi dance halls to the phenomenon of Filipino/a actors in Miss Saigon. Using this varied archive, Puro Arte turns to performance as an object of study and as a way of understanding complex historical processes of racialization in relation to empire and colonialism.

DKK 233.00
1

Puro Arte - Lucy Mae San Pablo Burns - Bog - New York University Press - Plusbog.dk

Puro Arte - Lucy Mae San Pablo Burns - Bog - New York University Press - Plusbog.dk

Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present. It stresses the Filipino performing body''s location as it conjoins colonial histories of the Philippines with U.S. race relations and discourses of globalization.Puro arte, translated from Spanish into English, simply means “pure art.” In Filipino, puro arte however performs a much more ironic function, gesturing rather to the labor of over-acting, histrionics, playfulness, and purely over-the-top dramatics. In this book, puro arte functions as an episteme, a way of approaching the Filipino/a performing body at key moments in U.S.-Philippine imperial relations, from the 1904 St. Louis World’s Fair, early American plays about the Philippines, Filipino patrons in U.S. taxi dance halls to the phenomenon of Filipino/a actors in Miss Saigon. Using this varied archive, Puro Arte turns to performance as an object of study and as a way of understanding complex historical processes of racialization in relation to empire and colonialism.

DKK 769.00
1

Black Patience - Julius B. Fleming Jr. - Bog - New York University Press - Plusbog.dk

Black Patience - Julius B. Fleming Jr. - Bog - New York University Press - Plusbog.dk

Honorable Mention, 2024 Callaway Prize for the Best Book on Drama, Theatre, and Performance Studies (New York University) 2024 College Language Association Book Award Winner 2023 Hooks National Book Award Winner (Benjamin L. Hooks Institute for Social Change)Honorable Mention, Association for the Study of the Arts of the Present 2023 Book PrizeHonorable Mention, 2023 John W. Frick Book Award (American Theatre and Drama Society)Finalist, 2022 George Freedley Memorial Award of the Theatre Library Association. Finalist, Barnard Hewitt Award for Outstanding Research in Theatre History (ASTR)Finalist, ATHE Outstanding Book Award A bold rethinking of the Civil Rights Movement through the lens of Black theater “Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience , Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

DKK 267.00
1

Black Patience - Julius B. Fleming Jr. - Bog - New York University Press - Plusbog.dk

Black Patience - Julius B. Fleming Jr. - Bog - New York University Press - Plusbog.dk

Honorable Mention, 2024 Callaway Prize for the Best Book on Drama, Theatre, and Performance Studies (New York University) 2024 College Language Association Book Award Winner 2023 Hooks National Book Award Winner (Benjamin L. Hooks Institute for Social Change)Honorable Mention, Association for the Study of the Arts of the Present 2023 Book PrizeHonorable Mention, 2023 John W. Frick Book Award (American Theatre and Drama Society)Finalist, 2022 George Freedley Memorial Award of the Theatre Library Association. Finalist, Barnard Hewitt Award for Outstanding Research in Theatre History (ASTR)Finalist, ATHE Outstanding Book Award A bold rethinking of the Civil Rights Movement through the lens of Black theater “Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience , Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

DKK 772.00
1

Unbecoming Blackness - Antonio Lopez - Bog - New York University Press - Plusbog.dk

Unbecoming Blackness - Antonio Lopez - Bog - New York University Press - Plusbog.dk

2014 Runner-Up, MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies In Unbecoming Blackness, Antonio López uncovers an important, otherwise unrecognized century-long archive of literature and performance that reveals Cuban America as a space of overlapping Cuban and African diasporic experiences. López shows how Afro-Cuban writers and performers in the U.S. align Cuban black and mulatto identities, often subsumed in the mixed-race and postracial Cuban national imaginaries, with the material and symbolic blackness of African Americans and other Afro-Latinas/os. In the works of Alberto O’Farrill, Eusebia Cosme, Rómulo Lachatañeré, and others, Afro-Cubanness articulates the African diasporic experience in ways that deprive negro and mulato configurations of an exclusive link with Cuban nationalism. Instead, what is invoked is an “unbecoming” relationship between Afro-Cubans in the U.S and their domestic black counterparts. The transformations in Cuban racial identity across the hemisphere, represented powerfully in the literary and performance cultures of Afro-Cubans in the U.S., provide the fullest account of a transnational Cuba, one in which the Cuban American emerges as Afro-Cuban-American, and the Latino as Afro-Latino.

DKK 278.00
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The Racial Mundane - Ju Yon Kim - Bog - New York University Press - Plusbog.dk

The Racial Mundane - Ju Yon Kim - Bog - New York University Press - Plusbog.dk

Winner, Lois P. Rudnick Book Prize presented by the New England American Studies AssociationAcross the twentieth century, national controversies involving Asian Americans have drawn attention to such seemingly unremarkable activities as eating rice, greeting customers, and studying for exams. While public debates about Asian Americans have invoked quotidian practices to support inconsistent claims about racial difference, diverse aesthetic projects have tested these claims by experimenting with the relationships among habit, body, and identity. In The Racial Mundane, Ju Yon Kim argues that the ambiguous relationship between behavioral tendencies and the body has sustained paradoxical characterizations of Asian Americans as ideal and impossible Americans. The body’s uncertain attachment to its routine motions promises alternately to materialize racial distinctions and to dissolve them. Kim’s study focuses on works of theater, fiction, and film that explore the interface between racialized bodies and everyday enactments to reveal new and latent affiliations. The various modes of performance developed in these works not only encourage audiences to see habitual behaviors differently, but also reveal the stakes of noticing such behaviors at all. Integrating studies of race, performance, and the everyday, The Racial Mundane invites readers to reflect on how and to what effect perfunctory behaviors become objects of public scrutiny.

DKK 248.00
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