Soyica Diggs Colbert – författare

An illuminating portrait of five Black woman artists, including Maya Angelou and Nina Simone, and the New York nightclub that helped inspire the civil rights movementBefore they became household names, Maya Angelou, Lorraine Hansberry, Abbey Lincoln, Miriam Makeba, and Nina Simone needed a place to practice and perform. That place was the Village Gate, a New York City nightclub that became a downtown hotspot for Black art, culture, music, and politics. Freedom's Gate depicts the deepening political convictions and groundbreaking artistry of women of the Gate as they developed as entertainers, activists, and intellectuals in the spotlight of art and revolution. From Hansberry's A Raisin in the Sun to Nina Simone's "Mississippi Goddam" and Abbey Lincoln and Max Roach's We Insist! Freedom Now Suite, Soyica Diggs Colbert brings to life the culture and performances that were the soundtrack to Black freedom struggles in the 1950s and early 1960s.With supporting roles from stars and activists such as Harry Belafonte, Stokely Carmichael, and Sidney Poitier, Freedom's Gate is a vibrant history of a little-known chapter of the civil rights movement that gave voice and soul to the call for liberation.

An illuminating portrait of five Black woman artists, including Maya Angelou and Nina Simone, and the New York nightclub that helped inspire the civil rights movementBefore they became household names, Maya Angelou, Lorraine Hansberry, Abbey Lincoln, Miriam Makeba, and Nina Simone needed a place to practice and perform. That place was the Village Gate, a New York City nightclub that became a downtown hotspot for Black art, culture, music, and politics. Freedom's Gate depicts the deepening political convictions and groundbreaking artistry of women of the Gate as they developed as entertainers, activists, and intellectuals in the spotlight of art and revolution. From Hansberry's A Raisin in the Sun to Nina Simone's "Mississippi Goddam" and Abbey Lincoln and Max Roach's We Insist! Freedom Now Suite, Soyica Diggs Colbert brings to life the culture and performances that were the soundtrack to Black freedom struggles in the 1950s and early 1960s.With supporting roles from stars and activists such as Harry Belafonte, Stokely Carmichael, and Sidney Poitier, Freedom's Gate is a vibrant history of a little-known chapter of the civil rights movement that gave voice and soul to the call for liberation.

What would it mean to “get over slavery”? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day?    Featuring original essays from an array of established and emerging scholars in the interdisciplinary field of African American studies, The Psychic Hold of Slavery offers a nuanced dialogue upon these questions. With a painful awareness that our understanding of the past informs our understanding of the present-and vice versa-the contributors place slavery’s historical legacies in conversation with twenty-first-century manifestations of antiblack violence, dehumanization, and social death.    Through an exploration of film, drama, fiction, performance art, graphic novels, and philosophical discourse, this volume considers how artists grapple with questions of representation, as they ask whether slavery can ever be accurately depicted, trace the scars that slavery has left on a traumatized body politic, or debate how to best convey that black lives matter. The Psychic Hold of Slavery thus raises provocative questions about how we behold the historically distinct event of African diasporic enslavement and how we might hold off the transhistorical force of antiblack domination.

What would it mean to “get over slavery”? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day?    Featuring original essays from an array of established and emerging scholars in the interdisciplinary field of African American studies, The Psychic Hold of Slavery offers a nuanced dialogue upon these questions. With a painful awareness that our understanding of the past informs our understanding of the present-and vice versa-the contributors place slavery’s historical legacies in conversation with twenty-first-century manifestations of antiblack violence, dehumanization, and social death.    Through an exploration of film, drama, fiction, performance art, graphic novels, and philosophical discourse, this volume considers how artists grapple with questions of representation, as they ask whether slavery can ever be accurately depicted, trace the scars that slavery has left on a traumatized body politic, or debate how to best convey that black lives matter. The Psychic Hold of Slavery thus raises provocative questions about how we behold the historically distinct event of African diasporic enslavement and how we might hold off the transhistorical force of antiblack domination.

Received the 2018 Honorable Mention for the Joe A. Callaway Prize for the Best Book on Drama or Theatre​Black Movements analyzes how artists and activists of recent decades reference earlier freedom movements in order to imagine and produce a more expansive and inclusive democracy. The post–Jim Crow, post–apartheid, postcolonial era has ushered in a purportedly color blind society and along with it an assault on race-based forms of knowledge production and coalition formation. Soyica Diggs Colbert argues that in the late twentieth century race went “underground,” and by the twenty-first century race no longer functioned as an explicit marker of second-class citizenship.The subterranean nature of race manifests itself in discussions of the Trayvon Martin shooting that focus on his hoodie, an object of clothing that anyone can choose to wear, rather than focusing on structural racism; in discussions of the epidemic proportions of incarcerated black and brown people that highlight the individual’s poor decision making rather than the criminalization of blackness; in evaluations of black independence struggles in the Caribbean and Africa that allege these movements have accomplished little more than creating a black ruling class that mirrors the politics of its former white counterpart. Black Movements intervenes in these discussions by highlighting the ways in which artists draw from the past to create coherence about blackness in present and future worlds.Through an exploration of the way that black movements create circuits connecting people across space and time, Black Movements offers important interventions into performance, literary, diaspora, and African American studies.

A few weeks prior to the submission deadline for this volume of Theatre Symposium, the murder of George Floyd by officers of the Minneapolis Police Department sparked a movement for racial justice that reverberated at every level of US society. At predominantly and historically white academic institutions (including Theatre Symposium and its parent organization, the Southeastern Theatre Conference) leaders were compelled, as perhaps never before, to account for the role of systematic racism in the foundation and perpetuation of their organizations. While the present volume’s theme of “Theatre and Race” was announced in the waning days of 2019, the composition and editing of the issue’s essays were undertaken almost entirely within the transformed cultural and professional landscape of 2020. Throughout its twenty-nine years of publication, Theatre Symposium’s pages have included many excellent essays whose authors have deployed theories of race as an analytical framework, and (less often) treated BIPOC-centered art and artists as subject. The intent of the current editors in conceiving this issue was to center such subjects and theorizations, a goal that has since taken on a more widely recognized urgency.Taken together, these twelve essays represent a wide range of scholarly responses to the theme of “theatre and race.” The fact that there is so much to say on the topic, from so many different perspectives, is a sign of how profoundly theatre practices have been—and continue to be—shaped by racial discourses and their material manifestations.

Presenting an innovative approach to performance studies and literary history, Soyica Colbert argues for the centrality of black performance traditions to African American literature, including preaching, dancing, blues and gospel, and theatre itself, showing how these performance traditions create the 'performative ground' of African American literary texts. Across a century of literary production using the physical space of the theatre and the discursive space of the page, W. E. B. Du Bois, Zora Neale Hurston, James Baldwin, August Wilson and others deploy performances to re-situate black people in time and space. The study examines African American plays past and present, including A Raisin in the Sun, Blues for Mister Charlie and Joe Turner's Come and Gone, demonstrating how African American dramatists stage black performances in their plays as acts of recuperation and restoration, creating sites that have the potential to repair the damage caused by slavery and its aftermath.

Presenting an innovative approach to performance studies and literary history, Soyica Colbert argues for the centrality of black performance traditions to African American literature, including preaching, dancing, blues and gospel, and theatre itself, showing how these performance traditions create the 'performative ground' of African American literary texts. Across a century of literary production using the physical space of the theatre and the discursive space of the page, W. E. B. Du Bois, Zora Neale Hurston, James Baldwin, August Wilson and others deploy performances to re-situate black people in time and space. The study examines African American plays past and present, including A Raisin in the Sun, Blues for Mister Charlie and Joe Turner's Come and Gone, demonstrating how African American dramatists stage black performances in their plays as acts of recuperation and restoration, creating sites that have the potential to repair the damage caused by slavery and its aftermath.

Before they were household names, Maya Angelou, Lorraine Hansberry, Abbey Lincoln, Miriam Makeba, and Nina Simone needed a place to practice and perform. That place was the Village Gate, a New York City nightclub that Art D’Lugoff opened at the dawn of an unprecedented decade in civil rights. In the heart of the West Village, the women of the Gate created something that few could have imagined: a downtown hotspot for Black art, culture, music, and politics.Freedom’s Gate depicts the groundbreaking artistry and deepening political convictions of the women of the Gate as they developed in the spotlight of art and revolution. From Lorraine Hansberry’s A Raisin in the Sun to Nina Simone’s "Mississippi Goddam" and Abbey Lincoln and Max Roach’s We Insist! Freedom Now Suite, Soyica Diggs Colbert brings to life the culture and performances that were the soundtrack to Black freedom struggles in the 1950s and 1960s. Colbert also shows how the women of the Gate raised money and awareness for groups at the vanguard of civil rights, brought the call for African independence home to New York City, and interwove Western and black diasporic influences into American popular performance, with supporting roles from stars and activists such as Harry Belafonte, Stokely Carmichael, and Sidney Poitier.As the women relied on one another as entertainers, activists, intellectuals, and friends, the Gate became an outpost for freedom struggles outside of Harlem and the American South, a haven that did not abide by the norms of segregation or the expectations of "women’s work," and a world-renowned venue defined by its radical musicians, artists, and budding stars. Freedom’s Gate is a vibrant history of a little-known chapter of the civil rights movement that gave voice and soul to the call for liberation.

How does theatre shape the body and perceptions of it? How do bodies on stage challenge audience assumptions about material evidence and the truth? Theory for Theatre Studies: Bodies responds to these questions by examining how theatre participates in and informs theories of the body in performance, race, queer, disability, trans, gender, and new media studies.Throughout the 20th century, theories of the body have shifted from understanding the body as irrefutable material evidence of race, sex, and gender, to a social construction constituted in language. In the same period, theatre has struggled with representing ideas through live bodies while calling into question assumptions about the body.This volume demonstrates how theatre contributes to understanding the historical, contemporary and burgeoning theories of the body. It explores how theories of the body inform debates about labor conditions and spatial configurations. Theatre allows performers to shift an audience’s understandings of the shape of the bodies on stage, possibly producing a reflexive dynamic for consideration of bodies offstage as well. In addition, casting choices in the theatre, most recently and popularly in Hamilton, question how certain bodies are “cast” in social, historical, and philosophical roles. Through an analysis of contemporary case studies, including The Balcony, Angels in America, and Father Comes Home from the Wars, this volume examines how the theatre theorizes bodies. Online resources are also available to accompany this book.

How does theatre shape the body and perceptions of it? How do bodies on stage challenge audience assumptions about material evidence and the truth? Theory for Theatre Studies: Bodies responds to these questions by examining how theatre participates in and informs theories of the body in performance, race, queer, disability, trans, gender, and new media studies.Throughout the 20th century, theories of the body have shifted from understanding the body as irrefutable material evidence of race, sex, and gender, to a social construction constituted in language. In the same period, theatre has struggled with representing ideas through live bodies while calling into question assumptions about the body.This volume demonstrates how theatre contributes to understanding the historical, contemporary and burgeoning theories of the body. It explores how theories of the body inform debates about labor conditions and spatial configurations. Theatre allows performers to shift an audience’s understandings of the shape of the bodies on stage, possibly producing a reflexive dynamic for consideration of bodies offstage as well. In addition, casting choices in the theatre, most recently and popularly in Hamilton, question how certain bodies are “cast” in social, historical, and philosophical roles. Through an analysis of contemporary case studies, including The Balcony, Angels in America, and Father Comes Home from the Wars, this volume examines how the theatre theorizes bodies. Online resources are also available to accompany this book.

The contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. Pointing out that repetition has been the primary point of reference for understanding both the complex temporality of theater and the historical persistence of race, they identify and pursue critical alternatives to the conceptualization, organization, measurement, and politics of race in performance. The contributors examine theater, performance art, music, sports, dance, photography, and other forms of performance in topics that range from the movement of boxer Joe Louis to George C. Wolfe's 2016 reimagining of the 1921 all-black musical comedy Shuffle Along to the relationship between dance, mourning, and black adolescence in Flying Lotus's music video “Never Catch Me.” Proposing a spectrum of coexisting racial temporalities that are not tethered to repetition, this collection reconsiders central theories in performance studies in order to find new understandings of race.Contributors. Joshua Chambers-Letson, Soyica Diggs Colbert, Nicholas Fesette, Patricia Herrera, Jasmine Elizabeth Johnson, Douglas A. Jones Jr., Mario LaMothe, Daphne P. Lei, Jisha Menon, Tavia Nyong’o, Tina Post, Elizabeth W. Son,  Shane Vogel, Catherine M. Young, Katherine Zien