Duke University Press Race and Performance after Repetition

Product Description The contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. Pointing out that repetition has been the primary point of reference for understanding both the complex temporality of theater and the historical persistence of race, they identify and pursue critical alternatives to the conceptualization, organization, measurement, and politics of race in performance. The contributors examine theater, performance art, music, sports, dance, photography, and other forms of performance in topics that range from the movement of boxer Joe Louis to George C. Wolfe's 2016 reimagining of the 1921 all-black musical comedy Shuffle Along to the relationship between dance, mourning, and black adolescence in Flying Lotus's music video “Never Catch Me.” Proposing a spectrum of coexisting racial temporalities that are not tethered to repetition, this collection reconsiders central theories in performance studies in order to find new understandings of race. Contributors. Joshua Chambers-Letson, Soyica Diggs Colbert, Nicholas Fesette, Patricia Herrera, Jasmine Elizabeth Johnson, Douglas A. Jones Jr., Mario LaMothe, Daphne P. Lei, Jisha Menon, Tavia Nyong’o, Tina Post, Elizabeth W. Son,  Shane Vogel, Catherine M. Young, Katherine Zien Review "'What time is it?!' Race and Performance after Repetition offers a pathbreaking and long overdue intervention in performance studies by posing this sly and urgent question from a multiplicity of critical vantage points. This brilliant and inspired collection of essays unsettles the very foundations of the field by tracing, interrogating, and ultimately questioning the dominant logic of repetition as a foundational theoretical axiom in performance studies scholarship by way of calling attention to the difference that race makes. As this anthology demonstrates, the material historical conditions of race demand a wider, deeper, and more robust critical lexicon that moves beyond the grammar of temporal repetition. It is a volume that heralds new times in the field."--Daphne A. Brooks, author of "Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910" "Offering a groundbreaking take on one of the most central premises of performance studies, this innovative volume advances theoretical and interpretive articulations of time that expand upon and challenge long-held assumptions about performance as repetition. It significantly expands performance theory and promises to animate conversations about performance, race, and time going forward. This collection is truly a breath of fresh air."--Ramón H. Rivera-Servera, coeditor of "Blacktino Queer Performance" About the Author Soyica Diggs Colbert is Idol Family Professor of the College of Arts and Sciences at Georgetown University and author of Black Movements: Performance and Cultural Politics. Douglas A. Jones Jr. is Associate Professor of English at Rutgers University and author of The Captive Stage: Performance and the Proslavery Imagination of the Antebellum North. Shane Vogel is Ruth N. Halls Professor of English at Indiana University and author of Stolen Time: Black Fad Performance and the Calypso Craze.