I'm ready for @ProfKFH wisdom. Are you? #ShakeRace #LitPOC #FanGirlinghttps://www.youtube.com/watch?v=-o7wtZt4Dqc&feature=youtu.be …
Authority denied to Black culture and authority granted to white cultural property without critique. #ShakeRace
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Shakespeare was a refuge from race in the culture wars.
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400 years of Shakespeare is intertwined with 400 years of Black African diasporic history. Shakespeare is an object of value and imbues value to others.
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Blacks became a source of value, literal property. "Like Othello, we have done the state some service."
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Shakespeare means several things: 1) the man 2) the texts from that era 3) the accumulated baggage of 400 years that trains us how to think and speak about Shax 4) Shakespeare as a metaphor for Anglo-European culture.
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Black / Shakespeare, think about the space between as 400 years of history and the / as WEB DuBois' color line.
#ShakeRacepic.twitter.com/sHpGmt5jkl
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Genius is shorthand for exclusion. Black experience too personal to be genius, which is reserved for white male experience. We must routinely muster empathy for others while our experience does not require the same.
#ShakeRacepic.twitter.com/ZfVM7aw6Am
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Othello seemingly offers a place of entry to Black people into white culture and Shakespeare. Othello's desire to have others speak of me as I am is a paradoxical and powerful cry. It's particularly poignant in the face of extrajudicial murders of Black people.
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To claim or reject Othello is to immerse oneself in a history of race and Black stigmatization.
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Othello was a name given mockingly to the property of an enslaving society.
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It is not surprising to find Othello among the ranks of enslaved men. These august names were a common mode of exerting mastery upon enslaved people.
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Othello moves from being fictive to being kin. Black property through kinship relations.
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Our collective yearning have been made manifest in our collective unrest this summer. Talking about
@PublicTheaterNY's#RichardII. Each episode dedicated to George Floyd and#BlackLivesMatter
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Richard B. Harrison (Shakespearean actor) meeting Frederick Douglass, notes that it was Douglass' ambition to be an actor, to play Othello. He would recite scenes between Othello and Iago.
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Hall offers us a substantial overview of Douglass' engagement with Shakespeare and Othello.
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Douglass and Du Bois, both use "Othello's occupation is gone," as affective beauty to the relationship between these activists and their seemingly lost communities.
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Douglass: The most effective word in Othello, Iago's "indeed." KH says it must be the indeed of Act 3.
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There has always been a Shakespeare in the heart of Black culture. It is a Shakespeare that is that sweet black thing. Citing Francesca Royster, Shakespeare with a difference.
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Black distrust of Shakespeare and Othello cannot be dismissed.
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Do something: how cavalierly we throw around universality, it places muzzles on our students' mouths. Universality is a claim of whiteness; what are you doing to make Shakespeare available and accessible not through the register of the universal.
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Suggesting what Shakespeare can do for BIPOC maintains the color line and keeps us on the wrong side of the color line.
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Sources: Imtiaz Habib's Black Lives in the English Archives; Errol Hill's Shakespeare in Sable.
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