Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910
In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization t...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2006]
|
| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 Volltext |
| Zusammenfassung: | In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in public-through dress, movement, and theatrical technologies-to defamiliarize the spectacle of "blackness" in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of "bodily insurgency" which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown's public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams's and George Walker's musical In Dahomey (1902-04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) |
| Beschreibung: | 1 online resource (488 pages) 23 illustrations |
| ISBN: | 9780822387558 |
| DOI: | 10.1515/9780822387558 |
Internformat
MARC
| LEADER | 00000nmm a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV047048602 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 201207s2006 |||| o||u| ||||||eng d | ||
| 020 | |a 9780822387558 |9 978-0-8223-8755-8 | ||
| 024 | 7 | |a 10.1515/9780822387558 |2 doi | |
| 035 | |a (ZDB-23-DGG)9780822387558 | ||
| 035 | |a (OCoLC)1226707572 | ||
| 035 | |a (DE-599)BVBBV047048602 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-1046 |a DE-Aug4 |a DE-859 |a DE-860 |a DE-473 |a DE-739 |a DE-1043 |a DE-858 | ||
| 082 | 0 | |a 791.08996073 |2 22 | |
| 100 | 1 | |a Brooks, Daphne A. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Bodies in Dissent |b Spectacular Performances of Race and Freedom, 1850-1910 |c Daphne A. Brooks |
| 264 | 1 | |a Durham |b Duke University Press |c [2006] | |
| 264 | 4 | |c © 2006 | |
| 300 | |a 1 online resource (488 pages) |b 23 illustrations | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) | ||
| 520 | |a In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. | ||
| 520 | |a She describes how these entertainers experimented with different ways of presenting their bodies in public-through dress, movement, and theatrical technologies-to defamiliarize the spectacle of "blackness" in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of "bodily insurgency" which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. | ||
| 520 | |a She also considers Henry Box Brown's public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams's and George Walker's musical In Dahomey (1902-04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic | ||
| 546 | |a In English | ||
| 650 | 7 | |a PERFORMING ARTS / Theater / History & Criticism |2 bisacsh | |
| 650 | 4 | |a African American theater |x History |y 19th century | |
| 650 | 4 | |a African American theater |x History |y 20th century | |
| 650 | 4 | |a African Americans in the performing arts | |
| 856 | 4 | 0 | |u https://doi.org/10.1515/9780822387558 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 999 | |a oai:aleph.bib-bvb.de:BVB01-032455998 | ||
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l FAB01 |p ZDB-23-DGG |q FAB_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l FAW01 |p ZDB-23-DGG |q FAW_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l FHA01 |p ZDB-23-DGG |q FHA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l FKE01 |p ZDB-23-DGG |q FKE_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l FLA01 |p ZDB-23-DGG |q FLA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l UBG01 |p ZDB-23-DGG |q UBG_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l UPA01 |p ZDB-23-DGG |q UPA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822387558 |l FCO01 |p ZDB-23-DGG |q FCO_PDA_DGG |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1804182033745838080 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Brooks, Daphne A. |
| author_facet | Brooks, Daphne A. |
| author_role | aut |
| author_sort | Brooks, Daphne A. |
| author_variant | d a b da dab |
| building | Verbundindex |
| bvnumber | BV047048602 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9780822387558 (OCoLC)1226707572 (DE-599)BVBBV047048602 |
| dewey-full | 791.08996073 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.08996073 |
| dewey-search | 791.08996073 |
| dewey-sort | 3791.08996073 |
| dewey-tens | 790 - Recreational and performing arts |
| doi_str_mv | 10.1515/9780822387558 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>04579nmm a2200529zc 4500</leader><controlfield tag="001">BV047048602</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">201207s2006 |||| o||u| ||||||eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780822387558</subfield><subfield code="9">978-0-8223-8755-8</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9780822387558</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780822387558</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1226707572</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV047048602</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-1046</subfield><subfield code="a">DE-Aug4</subfield><subfield code="a">DE-859</subfield><subfield code="a">DE-860</subfield><subfield code="a">DE-473</subfield><subfield code="a">DE-739</subfield><subfield code="a">DE-1043</subfield><subfield code="a">DE-858</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">791.08996073</subfield><subfield code="2">22</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Brooks, Daphne A.</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Bodies in Dissent</subfield><subfield code="b">Spectacular Performances of Race and Freedom, 1850-1910</subfield><subfield code="c">Daphne A. Brooks</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Durham</subfield><subfield code="b">Duke University Press</subfield><subfield code="c">[2006]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2006</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (488 pages)</subfield><subfield code="b">23 illustrations</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. </subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">She describes how these entertainers experimented with different ways of presenting their bodies in public-through dress, movement, and theatrical technologies-to defamiliarize the spectacle of "blackness" in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of "bodily insurgency" which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. </subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">She also considers Henry Box Brown's public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams's and George Walker's musical In Dahomey (1902-04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / Theater / History & Criticism</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African American theater</subfield><subfield code="x">History</subfield><subfield code="y">19th century</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African American theater</subfield><subfield code="x">History</subfield><subfield code="y">20th century</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African Americans in the performing arts</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032455998</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">FAB01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">FAW01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">FHA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FHA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">FKE01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">FLA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">UBG01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">UPA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822387558</subfield><subfield code="l">FCO01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV047048602 |
| illustrated | Illustrated |
| index_date | 2024-07-03T16:07:28Z |
| indexdate | 2024-07-10T09:01:07Z |
| institution | BVB |
| isbn | 9780822387558 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032455998 |
| oclc_num | 1226707572 |
| open_access_boolean | |
| owner | DE-1046 DE-Aug4 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 DE-1043 DE-858 |
| owner_facet | DE-1046 DE-Aug4 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 DE-1043 DE-858 |
| physical | 1 online resource (488 pages) 23 illustrations |
| psigel | ZDB-23-DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FHA_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG FCO_PDA_DGG |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Duke University Press |
| record_format | marc |
| spelling | Brooks, Daphne A. Verfasser aut Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 Daphne A. Brooks Durham Duke University Press [2006] © 2006 1 online resource (488 pages) 23 illustrations txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in public-through dress, movement, and theatrical technologies-to defamiliarize the spectacle of "blackness" in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of "bodily insurgency" which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown's public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams's and George Walker's musical In Dahomey (1902-04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic In English PERFORMING ARTS / Theater / History & Criticism bisacsh African American theater History 19th century African American theater History 20th century African Americans in the performing arts https://doi.org/10.1515/9780822387558 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Brooks, Daphne A. Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 PERFORMING ARTS / Theater / History & Criticism bisacsh African American theater History 19th century African American theater History 20th century African Americans in the performing arts |
| title | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 |
| title_auth | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 |
| title_exact_search | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 |
| title_exact_search_txtP | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 |
| title_full | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 Daphne A. Brooks |
| title_fullStr | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 Daphne A. Brooks |
| title_full_unstemmed | Bodies in Dissent Spectacular Performances of Race and Freedom, 1850-1910 Daphne A. Brooks |
| title_short | Bodies in Dissent |
| title_sort | bodies in dissent spectacular performances of race and freedom 1850 1910 |
| title_sub | Spectacular Performances of Race and Freedom, 1850-1910 |
| topic | PERFORMING ARTS / Theater / History & Criticism bisacsh African American theater History 19th century African American theater History 20th century African Americans in the performing arts |
| topic_facet | PERFORMING ARTS / Theater / History & Criticism African American theater History 19th century African American theater History 20th century African Americans in the performing arts |
| url | https://doi.org/10.1515/9780822387558 |
| work_keys_str_mv | AT brooksdaphnea bodiesindissentspectacularperformancesofraceandfreedom18501910 |