Appropriating Blackness
Performance and the Politics of Authenticity
1st Edition
Published on 13. August 2003
384 pages
978-0-8223-8510-3 (ISBN)
Description
A consideration of the performance of Blackness and race in general, in relation to sexuality and critiques of authenticity.
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Book
08/2003
Duke University Press
€110.50
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Book
08/2003
Duke University Press
€30.00
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Person
E. Patrick Johnson is a performance artist and Assistant Professor of Performance Studies at Northwestern University.
Content
Acknowledgments ix
Introduction
"Blackness" and Authenticity: What's Performance Got to Do with It? 1
1. The Pot is Brewing: Marlon Riggs's Black Is. Black Ain't 17
2. Manifest Faggotry: Queering Masculinity in African American Culture 48
3. Mother Knows Best: Blackness and Transgressive Domestic Space 76
4. "Nevah Had uh Cross Word": Mammy and the Trope of Black Womanhood 104
5. Sounds of Blackness Down Under: The Cafe of the Gate of Salvation 160
6. Performance and/as Pedagogy: Performing Blackness in the Classroom 219
Appendix A Mary Rhyne's Narrative 257
Appendix B Interview with Mrs. Smith 311
Notes 315
Bibliography 345
Index 361
Introduction
"Blackness" and Authenticity: What's Performance Got to Do with It? 1
1. The Pot is Brewing: Marlon Riggs's Black Is. Black Ain't 17
2. Manifest Faggotry: Queering Masculinity in African American Culture 48
3. Mother Knows Best: Blackness and Transgressive Domestic Space 76
4. "Nevah Had uh Cross Word": Mammy and the Trope of Black Womanhood 104
5. Sounds of Blackness Down Under: The Cafe of the Gate of Salvation 160
6. Performance and/as Pedagogy: Performing Blackness in the Classroom 219
Appendix A Mary Rhyne's Narrative 257
Appendix B Interview with Mrs. Smith 311
Notes 315
Bibliography 345
Index 361
