Appropriating Blackness: Performance and the Politics of Authenticity
Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is n...
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
Durham
Duke University Press
[2003]
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| Schlagwörter: | |
| Links: | https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 https://doi.org/10.1515/9780822385103 |
| Zusammenfassung: | Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) |
| Umfang: | 1 online resource (382 pages) 16 b&w photos |
| ISBN: | 9780822385103 |
| DOI: | 10.1515/9780822385103 |
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| 520 | |a Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness | ||
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Datensatz im Suchindex
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| spelling | Johnson, E. Patrick Verfasser aut Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson Durham Duke University Press [2003] © 2003 1 online resource (382 pages) 16 b&w photos txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness In English BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage bisacsh African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States https://doi.org/10.1515/9780822385103 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Johnson, E. Patrick Appropriating Blackness Performance and the Politics of Authenticity BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage bisacsh African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States |
| title | Appropriating Blackness Performance and the Politics of Authenticity |
| title_auth | Appropriating Blackness Performance and the Politics of Authenticity |
| title_exact_search | Appropriating Blackness Performance and the Politics of Authenticity |
| title_full | Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson |
| title_fullStr | Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson |
| title_full_unstemmed | Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson |
| title_short | Appropriating Blackness |
| title_sort | appropriating blackness performance and the politics of authenticity |
| title_sub | Performance and the Politics of Authenticity |
| topic | BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage bisacsh African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States |
| topic_facet | BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States |
| url | https://doi.org/10.1515/9780822385103 |
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