The contributions to Critical Voices of Black Liberation in the Americas originated from the 1999 CAAR Conference in Munster and from conferences held in the US in 2000 and 2001. More than half of the eleven essays consider black performances on stage, in sound, and on film; the remaining essays explore slavery, African American literature, and nineteenth-century black educators. These exciting essays creatively examine artistic and/or political articulation of black liberation as the construction of a new critical and signifyin(g) voice. This liberated and critical voice asserts itself as much as a communal expression of black subjectivities as it is an articulation of the black self.

Given the ways in which spirituality functions in the work of such Black women writers and filmmakers as Toni Morrison, Ntozake Shange, Maya Angelou, Julie Dash, and Euzhan Palcy, Judylyn Ryan proposes in this challenging new study that what these women embrace in their narrative construction and characterization is the role and responsibility of the priestess, bearing and distributing life-force to sustain the community of people who read and view their work. Central to these women's vision of transformation is what Ryan calls a paradigm of growth and an ethos of interconnectedness, which provide interpretive models for examining and teaching a broad range of artistic, cultural, and social texts. The focus on theology provides a new way of viewing the connections among New World African diaspora religious traditions, challenging the widespread and reductive assumption that Afro-Christianity shares no philosophical commonalities with Santeria, Candomble ...

Prominent scholars in literary and cultural studies, anthropology, sociology, linguistics, media studies, theatre production, and translation challenge the centre-periphery dichotomy used as a paradigm for relations between colonizers and their erstwhile subjects in this collection of critical interventions. Focussing on India and its diaspora(s) in western industrialized nations and former British colonies, this volume engages with topics of centrality and/or peripherality, particularly in the context of Anglophone Indian writing; the Indian languages; Indian film as art and popular culture; cross-cultural Shakespeare; diasporic pedagogy; and transcultural identity.

This collection of essays generates important enquiries into the teaching and practice of anti-racism education, by way of working through conversations, contestations, and emotions as presented by a diverse group of strong women committed to social justice work in their own right. Throughout the collection, contemporary educational issues are situated within personal-political, historical and philosophical conversations, which work to broach the challenges and possibilities for students, educators, staff, administrators, policy makers, and community members who engage in critical anti-racism education. This work diverges from the existing scholarship by way of bringing new insights to the theoretical possibilities of resistance and futurity as voiced through pedagogues, practitioners and scholars in anti-racism. In this book the authors speak to the importance of anti-racism discursivity in a time when even those who desire to engage this framework struggle to be heard; in a time when there are anti-racism policies in institutions, yet to speak anti-racism philosophy remains dangerous; and in a time when, to speak race and anti-racism, is considered to be stirring up trouble in the face of post-racial discourses.

Upon walking U.S. inner-city streets sooner or later you come upon groups of black kids wearing prison-style outfits; there is a boom box, and rap music. And inevitably you will hear the N-word. Upon entering a district housing migrants in any European city you will encounter almost identical scenes - youngsters dressed in prison style, the boom box, rap. Only most of the kids are of a "white" or olive complexion. They call themselves "Black albinos", "Wiggers" or "white N______."

With contributions from leading scholars from various disciplines, this title offers analyses and critiques that span three continents and looks at topics such as the secret marketing of black female pornography to white American men and the eroticization of colonial legacies in contemporary German media.

This book is a rich interpretation of a rich text, providing a twenty-first century reading of a timeless masterpiece, and, in so doing, it points to the relationship of death and desire as a playing both with body and language. The book confronts readers with the ineluctable patterns which language and time inscribe within the open/closed Shakespearean space: Degree, division, and diversity as the focal points. Emphasis upon the corporeality of the human body links this study's textual interpretation with the corpus of the literary canon, itself seen as a body divided by performance and differed by reading. It prevails over the damaging engagement with the deconstructed text and dominates the conflictual tendencies of the reconstructed drama.