A Performative Memoric Investigation of YoungGiftedandFat

2016 ◽  
Vol 5 (1) ◽  
pp. 51-62
Author(s):  
Sharrell D. Luckett ◽  
Audrey Edwards ◽  
Megan J. Stewart
Keyword(s):  
African American ◽  
Performance Studies ◽  
African American Females ◽  
Stage Manager ◽  
The Arts ◽  
Assistant Director ◽  
Power Negotiations ◽  
Research Collective

In 2013, Sharrell D. Luckett formed the Performance Studies & Arts Research Collective, which encourages members to explore their identities through the arts. Around this time, Audrey Edwards and Megan J. Stewart—both African American females and Collective members—became interested in autoethnography, and Luckett invited them to study closely with her. In this performative essay, Luckett, Edwards, and Stewart implicitly highlight various power negotiations enacted as professor/student, actress/stage manager, actress/assistant director, and mentor/mentee, while all working on their own autoethnographies, and while working collectively on Luckett's autoethnographic performance: YoungGiftedandFat.

“I LEAVE YOU LOVE”: African American Women as Collectors in, of, and through, the Arts

Collections ◽  
2019 ◽  
Vol 15 (2-3) ◽  
pp. 113-166
Author(s):  
Lisa Pertillar Brevard
Keyword(s):  
African American ◽  
African American Women ◽  
Black People ◽  
Government Service ◽  
Bottom Up ◽  
American Women ◽  
World Citizenship ◽  
Direct Descendant ◽  
The Arts ◽  
Just Society

In her last will and testament, educator-activist Mary McLeod Bethune (1875–1955) declared, “I LEAVE YOU LOVE. Love builds.” A direct descendant of former chattel slaves, Bethune believed in building from the bottom up: beginning with love, or positive thoughts, and manifesting those thoughts. By accretion of goods and goodwill, she built not only a physical school which fostered the arts as a bridge toward world citizenship for disenfranchised black people but also a school of thought, extending to encompass purposeful government service at local and federal levels, toward achieving a just society. Bethune’s determined example of building by accretion informs and helps us to better understand and articulate a wide variety of African American women’s collecting in, of, and through, the arts. This article explores and defines—according to philosophy, purpose, practice, type, scope, and audience—various examples of collecting and collections among selected African American women in the arts, many of whom became contributors to, and subjects of, various collections.

scholarly journals Age Differences in STDs, Sexual Behaviors, and Correlates of Risky Sex Among Sexually Experienced Adolescent African-American Females

2011 ◽  
Vol 37 (1) ◽  
pp. 33-42 ◽  
Author(s):  
Jessica M. Sales ◽  
Jennifer L. Brown ◽  
Ralph J. DiClemente ◽  
Teaniese L. Davis ◽  
Melissa J. Kottke ◽  
...  
Keyword(s):  
African American ◽  
Age Differences ◽  
Sexual Behaviors ◽  
Risky Sex ◽  
African American Females

A Discussion of African-American Females on the Effect of HIV/AIDS: A Call for Action

2008 ◽  
Vol 43 (3-4) ◽  
pp. 21
Author(s):  
Necoal Holiday-Driver ◽  
Chippewa Thomas ◽  
Monica Hunter
Keyword(s):  
African American ◽  
African American Females ◽  
Hiv Aids

Groove Theory

2020 ◽  
Author(s):  
Tony Bolden
Keyword(s):  
African American ◽  
Cultural History ◽  
Intellectual History ◽  
Performance Studies ◽  
Black Musicians ◽  
Cultural Artifact ◽  
Social Perspectives ◽  
The Status ◽  
History Of ◽  
American Intellectual History

Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.

Prenatal steroid exposure promotes expression of renal injury indices in African American females (1134.11)

2014 ◽  
Vol 28 (S1) ◽  
Author(s):  
TanYa Gwathmey ◽  
Mark Chappell ◽  
Patricia Nixon ◽  
Lisa Washburn
Keyword(s):  
African American ◽  
Renal Injury ◽  
African American Females

Positionality and Performance: Staging Antony and Cleopatra for South African schools in the context of decolonisation imperatives

2020 ◽  
Vol 33 ◽  
Author(s):  
Néka Da Costa
Keyword(s):  
South African ◽  
Performance Studies ◽  
Antony And Cleopatra ◽  
Pedagogical Strategies ◽  
Short Supply ◽  
Children's Theatre ◽  
The Arts ◽  
Dialogic Approach ◽  
African Context ◽  
And Performance

Since the start of the #RhodesMustFall and #FeesMustFall campaigns in 2015–16, decolonisation has been a prominent topic in the South African academy. Yet practical guidance as to how one might start to apply decolonisation and transformation strategies tangibly, both in education and pedagogy – and, more precisely for the purposes of this article, in theatre and performance spaces – has been in short supply. By adopting a dialogic approach which prioritises the voices of her collaborators, the author contextualises and critiques some of the key creative, philosophical and pedagogical strategies employed while rehearsing and performing a school’s touring production of Antony and Cleopatra for the National Children’s Theatre in 2018. Shakespeare is a symbol of colonial and imperial legacies, and the relevance of his work in both English and Performance Studies curricula merits scrutiny, as does the way in which we discuss, teach, perform and value it. Through an unfolding acknowledgement of the author’s own positionality in relation to the text and its performance in a contemporary South African context, this article exemplifies some of the contradictions and productive discoveries of the Antony and Cleopatra process, in the hopes of contributing to a more action-based approach to decolonisation and social justice in practising the arts and in arts education.

What if we think of the classroom as a work of art? Performance, collaboration, and social engagement considered as pedagogic practices

2020 ◽  
pp. 147402222096694
Author(s):  
Theron Schmidt
Keyword(s):  
Performance Studies ◽  
Social Engagement ◽  
Visual Art ◽  
Art Practice ◽  
Work Of Art ◽  
Performance Practices ◽  
Arts And Humanities ◽  
Socially Engaged Art ◽  
The Arts ◽  
Pedagogic Practices

This article brings into relation critical perspectives and practical tactics from a range of different fields—performance studies, visual art practice, pedagogy and educational theory, and activism and community organising—in order to create some space for re-imagining what might be possible within the dynamics of the Higher Education classroom. It proceeds through a series of speculative modes: ‘what if we think of the classroom as a market?’, which for many is the currently dominant metaphor under neoliberalist economies; ‘what if we think of the work of art as a classroom?’, which traces the recent ‘pedagogical’ or ‘educational’ turn in visual art practice; and finally, ‘what if we think of the classroom as a work of art?’, in which the creative impulses and tactics drawn from performance practices, activism and community organising, and socially engaged art are speculatively applied to the arts and humanities classroom.

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