The second volume of the landmark trilogy consent not to be a single being.
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
Explores the histories of race and technology in a world made by slavery, colonialism, and industrialization. Beginning in the late nineteenth century and moving through to the twenty-first, the book argues for the dependent nature of those histories.
Explores the links between race, sovereignty, and possession through themes of property: owning property, being property, and becoming propertyless.
Tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation.
Part of the Library of Performing Rights (P3041).
Ruminates on the significance of physical and mental roaming for black freedom.
Part of the Library of Performing Rights (P3041).
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
In 2016, two artists embarked a cargo ship and retraced a route of the Transatlantic Slave Triangle – Europe, Africa, the Caribbean – all the while contemplating the notion of home. Both real and imagined, it was a journey to the bottom of the Atlantic Ocean, propelled by questions and grief; a journey backwards in order to go forwards, a diaspora. This show is what they brought back.
Part of the Library of Performing Rights (P3041).
The contributors to this book, writing from a variety of subject disciplines and interests, explore a range of the uses of autobiography from the nineteenth-century to the present day, and from Africa, USA, the Middle East, France, New Zealand, as well as Britain.
In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.