"Black people are not free to love Shakespeare."
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Othello was a name given mockingly to the property of an enslaving society. #ShakeRace
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. #ShakeRace
Othello moves from being fictive to being kin. Black property through kinship relations. #ShakeRace
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
#ShakeRace
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. #ShakeRace
Hall offers us a substantial overview of Douglass' engagement with Shakespeare and Othello. #ShakeRace
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. #ShakeRace
Douglass: The most effective word in Othello, Iago's "indeed." KH says it must be the indeed of Act 3. #ShakeRace
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. #ShakeRace
Black distrust of Shakespeare and Othello cannot be dismissed. #ShakeRace
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.
Suggesting what Shakespeare can do for BIPOC maintains the color line and keeps us on the wrong side of the color line. #ShakeRace
Sources: Imtiaz Habib's Black Lives in the English Archives; Errol Hill's Shakespeare in Sable.
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