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A study of post-colonial drama and theatre. It examines how dramatists from various societies have attempted to fuse the performance idioms of their traditions with the Western dramatic form, demonstrating how the dynamics of syncretic theatrical texts function in performance.
Senegalese Stagecraft explores the theatrical stage in Senegal as a site of poetic expression, political activism, and community engagement. In their responses to the country’s colonial heritage, as well as through their innovations on the craft of theater‐making, Senegalese performers have created an array of decolonizing stage spaces that have shaped the country’s theater history. Their work has also addressed a global audience, experimenting with international performance practices while proposing new visions of the role of culture and stagecraft in society. Through a study of the innovative work of Senegalese theater-makers from the 1930s onward, Senegalese Stagecraft explores a wide range of historical contexts and themes, including French colonial education, cultural Pan‐Africanism, West African Sufism, uses of television and mass media, and popular theater and activism. Using a multidisciplinary approach that includes field, archival, and literary methods, Valente‐Quinn offers a fresh look at performance cultures of West Africa and the Global South in a book that will interest students and scholars in African, Francophone, and performance studies.
2020 was a year in which global politics radically shifted, catalyzed by the Covid-19 pandemic and the #BlackLivesMatter movement. This book is a response to that year, asking: was it a moment or is it a movement, and what fundamental changes within the arts industry need to come out of this time? The book includes over 20 interviews with some of the most pioneering Black cultural leaders from a wide range of senior executive positions in the arts within the UK, Europe, US and Africa. It documents the sea of change in arts leadership at the height of the #BlackLivesMatter movement, the pressure on organizations to confront and change their racial and ethnic make-up, and shines a light on the guiding ambitions, strategic plans and visions for the future to support the ongoing decolonization of arts organizations across the world. Learn from those who have walked the walk to support your vision for the future.
Decolonizing Wealth is a provocative analysis of the dysfunctional colonial dynamics at play in philanthropy and finance. Award-winning philanthropy executive Edgar Villanueva draws from the traditions from the Native way to prescribe the medicine for restoring balance and healing our divides. Though it seems counterintuitive, the philanthropic industry has evolved to mirror colonial structures and reproduces hierarchy, ultimately doing more harm than good. After 14 years in philanthropy, Edgar Villanueva has seen past the field's glamorous, altruistic façade, and into its shadows: the old boy networks, the savior complexes, and the internalized oppression among the “house slaves,” and those select few people of color who gain access. All these funders reflect and perpetuate the same underlying dynamics that divide Us from Them and the haves from have-nots. In equal measure, he denounces the reproduction of systems of oppression while also advocating for an orientation towards justice to open the floodgates for a rising tide that lifts all boats. In the third and final section, Villanueva offers radical provocations to funders and outlines his Seven Steps for Healing. With great compassion—because the Native way is to bring the oppressor into the circle of healing—Villanueva is able to both diagnose the fatal flaws in philanthropy and provide thoughtful solutions to these systemic imbalances. Decolonizing Wealth is a timely and critical book that preaches for mutually assured liberation in which we are all inter-connected.
My thesis examines the use of music and theater as methods of corporeal decolonization through an analysis of two theatrical productions that address Japanese American internment - Edward Sakamoto's play Pilgrimage and Jay Kuo, Lorenzo Thione, and Marc Acito's musical Allegiance. My thesis builds upon Catherine Ceniza Choy's concept of corporeal colonization and Lucy Mae San Pablo Burns' application of the concept to include dance and music to position plays like Pilgrimage and Allegiance (with almost exclusively Asian American casts) as a means of corporeal decolonization in an industry that is heavily dominated by Caucasians. I also build upon Aimé Césaire's concept of colonialism as dehumanization, as well as Robert G. Lee's concepts of "foreign" and "alien" with regard to Asian American popular culture.
This timely volume uniquely illustrates how currere can be applied to the process of decolonizing subjectivity. Centered around the experiences of one black woman from the third world, the text details the theoretical underpinnings of Currere towards Decolonizing (CTD), and walks the reader through the autobiographical analysis involved in dismantling cognitive colonization. Conceived as a four-part autobiographical process of remembering, identifying, imagining, and decolonizing, the method of CTD is demonstrated as a means of recognizing and reflecting on how the colonial project has been internalized, and of gradually dismantling the psychological, affective, and material impact of colonization. Using both theoretical and experiential standpoints, and intersecting with notions of anti-blackness, linguicide, and Africana womanhood, the volume moves curriculum theory urgently towards anti-colonial mechanisms that disrupt the colonizing process. This text will benefit researchers, academics, and educators in higher education with an interest in curriculum studies, post-colonialism, and Black studies more broadly. Those specifically interested in interpersonal psychoanalysis, as well as gender and third world studies, will also benefit from this book.
This book calls for a reconceptualisation and decolonisation of the Key Stage 2 national history curriculum. The author applies a range of theories in his research with White-British primary school teachers to show how decolonising the history curriculum can generate new knowledge for all, in the face of imposed Eurocentric starting points for teaching and learning in history, and dominant white-cultural attitudes in primary school education. Through both narrative and biographical methodologies, the author presents how teaching and learning Black-British history in schools can be achieved, and centres his Black-British identity and minority-ethnic group experience alongside the immigrant Black-Jamaican perspective of his mother to support a framework of critical thinking of curriculum decolonisation. This book illustrates the potential of transformative thinking and action that can be employed as social justice for minority-ethnic group children who are marginalized in their educational development and learning by the dominant discourses of British history, national building and national identity.
In Eastern Europe and Eurasia, LGBT+ individuals face repression by state forces and non-state actors who attempt to reinforce their vision of traditional social values. Decolonizing Queer Experience moves beyond discourses of oppression and repression to explore the resistance and resilience of LGBT+ communities who are remaking the post-socialist world; they refuse domination from local heteronormative expectations and from global LGBT+ movements that create and suggest limitations on possible LGBT+ futures. The chapters in this collection feature a multiplicity of LGBT+ voices, suggesting that no single narrative of LGBT+ experience in post-socialism is more representative or informative than another. This collection highlights the globally flexible, infinitely malleable notion of LGBT+ that counters Western hegemony in queer activism and communities.
Stages of Reckoning is a crucial conversation about how racialized bodies and power intersect within actor training spaces. This book provokes embodied and intellectual discomfort for the reader to take risks with their ideologies, identities, and practices and to make new pedagogical choices for students with racialized identities. Centering the voices of actor trainers of color to acknowledge their personal experience and professional pedagogy as theory, this volume illuminates actionable ideas for text work, casting, voice, consent practices, and movement while offering decolonial approaches to current Eurocentric methods. These offerings invite the reader to create spaces where students can bring more of themselves, their communities, and their stories into their training and as fodder for performance making that will lead to a more just world. This book is for people in high/secondary schools, higher education, and private training studios who wish to teach and direct actors of color in ways that more fully honor their multiple identities.