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Interculturalism and Performance Now
This book is the first edited collection to respond to an undeniable resurgence of critical activity around the controversial theoretical term ‘interculturalism’ in theatre and performance studies. Long one of the field’s most vigorously debated concepts, intercultural performance has typically referred to the hybrid mixture of performance forms from different cultures (typically divided along an East-West or North-South axis) and its related practices frequently charged with appropriation, exploitation or ill-founded universalism. New critical approaches since the late 2000s and early 2010s instead reveal a plethora of localized, grassroots, diasporic and historical approaches to the theory and practice of intercultural performance which make available novel critical and political possibilities for performance practitioners and scholars. This collection consolidates and pushes forward reflection on these recent shifts by offering case studies from Asia, Africa, Australasia, Latin America, North America, and Western Europe which debate the possibilities and limitations of this theoretical turn towards a ‘new’ interculturalism.
Ruderal City
In Ruderal City Bettina Stoetzer traces relationships among people, plants, and animals in contemporary Berlin as they make their lives in the ruins of European nationalism and capitalism. She develops the notion of the ruderal—originally an ecological designation for the unruly life that inhabits inhospitable environments such as rubble, roadsides, train tracks, and sidewalk cracks—to theorize Berlin as a “ruderal city.” Stoetzer explores sites in and around Berlin that have figured in German national imaginaries—gardens, forests, parks, and rubble fields—to show how racial, class, and gender inequalities shape contestations over today’s uses and knowledges of urban nature. Dr...
Taking Stakes in the Unknown
In 2001, Freestyle, a survey exhibition curated by Thelma Golden at the Studio Museum in Harlem, introduced both a young generation of artists of African descent and the ambitious yet knowingly opaque term post-black to a pre 9-11 and pre-Obama world. In Taking Stakes in the Unknown, Nana Adusei-Poku contextualizes the term post-black in its socio-historical and cultural context. Whilst exploring its present legacy and past potential, she examines works by artists who were defined as part of the post-black generation: Mark Bradford, Leslie Hewitt, Mickalene Thomas and Hank Willis Thomas - and, by expanding the scope of the definition, the Black German artist Philip Metz.
People of the Comb
"Afrika" dient in vielen haarpolitischen Debatten nur als positive und teilweise sehr unpräzise definierte Projektionsfläche, die für eine bessere vorkoloniale Schwarze Welt steht. Nur wenig Aufmerksamkeit wurde bisher darauf verwendet, die tatsächlich gegenwärtig gelebte Haarkultur- und -politik in verschiedenen kontinentalafrikanischen Kontexten auch auf ihr Eingebettet-Sein in globale, historisch gewachsene Hierarchien hin zu betrachten. Oft wird übersehen, dass auch hier - auf ihre eigene Weise - rassistische Ideologien und insbesondere weiße Vorherrschaft als koloniale Kontinuitäten wirken, und zeitgenössische Haarkultur mitprägen. Die vorliegende Arbeit möchte einen Beitrag ...
Notamuse
Speaking about women graphic designers and their lack of visibility in the design scene without placing the focus on their gender.
Sensing the Ocean
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Museums and Communities
Contributors to this volume examine and illustrate struggles and collaborations among museums, festivals, tourism, and historic preservation projects and the communities they represent and serve. Essays include the role of museums in civil society, the history of African-American collections, and experiments with museum-community dialogue about the design of a multicultural society.
Winter Shorts
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Arriving in the Future
An anthology of poetry, short stories, and academic essays on Black German experience.
