Kellen Hoxworth – författare
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A sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth centuryA 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.
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Through an exploration of subjects such as Gandhi impersonators, "God-men," performance artists, and participants in ritual enactments of sacred stories through dance and theatre, 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 performance that is perceived to be not one’s own, regardless of whether this assumption is deliberate, intentional, and conscious or not. Interrogating the legitimacy of the purported dialectic between the "real/original" and "fake/dupe," Mimetic Desires refutes any ordering of identity along the lines of a binary or dichotomy that presupposes the myth of an original identity. Guising captures sartorial and kinetic play more generally. 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 twelve chapters in Mimetic Desires disclose sites and processes of socio-political 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 ritual. It is particularly in conversation with the robust scholarship on gender performance and trans-kothi-hijra engagement in theatrical and dance forms in South Asia. 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.