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.

Illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.

Drawing on more than ten years of ethnographic research in and around New York City, the book offers a kaleidoscope of subjects and stories that address how race is negotiated in today's world-including tales of book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and gospel choirs forbidden to catch the Holy Ghost.

Part of the Library of Performing Rights (LPR) (P3041).

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.

The collection contains nine performance scripts by established and emerging black and Latina/o queer playwrights and performance artists, each accompanied by an interview and critical essay conducted or written by leading scholars of black, Latina/o, and queer expressive practices.

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.

The catalogue for ‘Trophies of Empire’ was published in 1994, two years after the fifteen commissions were awarded, and a year after the ‘Trophies of Empire’ exhibitions ended in Bristol, Liverpool, and Hull. With an introduction to the ‘Trophies of Empire’ concept written Bryan Biggs, the then Director of Bluecoat Gallery in 1993.