[ Waiting room music ON POINT (again)! Grooving in my seat... :) ] 2/ #RaceB4Race
-
-
Näytä tämä ketju
-
[ This island music making me homesick for my islands right now.... :)
#alohanui ] 3/#RaceB4RaceNäytä tämä ketju -
Noémie Ndiaye opens the session, acknowledging the soverign Native Nations & urban Indian community of the Chicago area & territory. 4/
#RaceB4RaceNäytä tämä ketju -
Ambereen Dadabhoy
@DrDadabhoy up first w/ "All Our Othellos." This talk influenced by the WS attack on 1/6/21. The images exposed how the premodern past--Medieval & Shax--were being mobilized for WS & toxic masc. "Terror" discourse now being used to frame. 5/#RaceB4RaceNäytä tämä ketju -
But while this use of "terror discourse" make look recuperative, it is deeply problematic, bringing w/ it the history of its policing of Islam & Muslims. Not redressing anything. 6/
#RaceB4RaceNäytä tämä ketju -
How do seemingly recuperative texts continue to recirculate anti-Muslim histories & ideology? Expanding the security state, the "imminent threat" of RS, etc are still mobilized. The "Ottoman threat" is positioned in Shax's Othello as threat to "civilization." 7/
#RaceB4RaceNäytä tämä ketju -
The play continues the process of rewriting the Ottoman Empire as "alien" "outsiders," rather than the dominant polity in the area. Religion & political conflation in the play continues Clash of Civilizations. [ sorry too quick to catch all that AD is setting up] 8/
#RaceB4RaceNäytä tämä ketju -
What are the critical nodes that connect identity formation across from the early modern to the contemporary? What role does "the Moor" play in that? How does the demonization of the Muslim operate across these nodes? 9/
#RaceB4RaceNäytä tämä ketju -
AD gives broad list of the basic plot issues around the main character Amir's ID journey in Ayad Akhtar's "Disgraced." 10/
#RaceB4RaceNäytä tämä ketju -
At the start of the play, the issue of the waiter's perception, "gap between seeing" who Amir is and who he really is. Amir's ID is overdetermined, legible thru the Orientalist terrorist frame, which he can only counter thru "civilized norms." 11/
#RaceB4RaceNäytä tämä ketju -
Emily (Amir's wife) attempts to recouperate Amir's image & self-esteem by ref to Juan de Pereja (sp?) painting. But AD points out the fetishization of the raced, male body in Emily's "enobling" effort to rehab Amir for the white gaze. Gilds his "deficit." 12/
#RaceB4RaceNäytä tämä ketju -
Amir becomes the object for the white American gaze w/out agency to control his presentation/perception. Amir's portrait compared to Velasquez's "gilded slave." "The question remains: what is your place?" AD: Amir reps height of assimilation & inferiority w/in WS. 13/
#RaceB4RaceNäytä tämä ketju -
The "shadow of Shax's Othello" in Disgrace yokes the Moor, Juan de Pereja, & Abd-El Ouahed Ben Massoud, ambassador to Queen Liz I's court (~1600), and Amir--religious difference & disgrace w/in assimilationist frame. 14/
#RaceB4RaceNäytä tämä ketju -
Part of what the play Disgraced does by using the Juan de Pereja portrait & Amir's revisioning as non-black Muslim (in his portrait). Amir, in his fury at being passed up for promotion, by Jory "African American...almost masculine," appropriates being n-word. 15/
#RaceB4RaceNäytä tämä ketju -
Akhtar's positioning of Amir as most victimized, appropriation of Am. Black exp., absorbs the narratives of race, attempting to articulate resistance to the racialization of the war on terror ID of Muslims, fails to interrogate the structure, repeats damage. 16/
#RaceB4RaceNäytä tämä ketju -
AD refs a moment in play ("Amir's litany") where he tries to critique a cartoon vision of "violent, wife-beating" type of Muslim by celebrating assimilation. The play caters to white gaze in the revel. of "Amir's *true* face"--"trafficking in stereotype as truth." 17/
#RaceB4RaceNäytä tämä ketju -
Citing Lorde (master's tools), in teaching Othello or Disgrace, we need to be more vigilant of the continuing interpellative power of the white gaze, the dominant epistemologies, in order to cultivate a hermeneutics of emancipation. [!!] 18/
#RaceB4RaceNäytä tämä ketju -
Next Eric L. De Barros @EricLDeBarros1 on Romeo Is Bleeding (play adaptation & film capture). Clark & his students move the play into spoken word w/ music, image, & live performances. "Dazzling" dexterity. 19/
#RaceB4RaceNäytä tämä ketju -
The film tries hard to make it appear that the spoken word form surpasses (in coolness, in use, in urgency, in urbanness?) all of the other Black American art forms in power. Using Shax is part of this [what I would transl. as] ho'omana-ing the poets/film-maker. 20/
#RaceB4RaceNäytä tämä ketju -
Citing Ayanna Thompson, De Barros is not sure the adaptive gesture in the urban environment is not as empancipatory as it likes to seem. Shax represents highly poetic language as "superior"-- 21/
#RaceB4RaceNäytä tämä ketju -
"Shakespeare IS poetry" continually stated by cut-in interview clips. 20 promo of this def. THIS limits even as it appears to "uplift" young urban lives & minds out of oppressed, "the most unpoetic" circumstances. Ethical skepticism of this (Adorno) [yes!] 22/
#RaceB4RaceNäytä tämä ketju -
EDB brings the question: what role am I playing in the "beautiful barbaric" when I am the lowest, ugliest in that heirarchy? EDB brings a beautiful list of Black intellectual rejections of "high" poetics as the paradigm, covering over the theft of lands, people. 23/
#RaceB4RaceNäytä tämä ketju -
[ going so fast, this list is fire! ] Then what about the aestheticization of Lavinia's rape & mutilation as a beautiful, crimson river? What about Greenblatt's aestheticizations? Romeo Is Bleeding fails to see the relation btwn "poetics" & suffering Black bodies? 24/
#RaceB4RaceNäytä tämä ketju -
[ YESSSSS!!!!!! rejecting trauma porn is essential! ] 25/
#RaceB4RaceNäytä tämä ketju -
Back in film, "honoring the original text" by Clark does not dig deeper into challenging Shax & the poetic superiority structure. All Clark needed to do was demonstrate reverence in process & product. 26/
#RaceB4RaceNäytä tämä ketju -
Rodriguez's social change, violence prevention thru art is the inspiration of the project. Yet Rodriguez's neo-liberal, "Oprah-esque" forward states: the arts raise up lives. BUT EDB notes: no where is art in his stmt about structural rev., social change. 27/
#RaceB4RaceNäytä tämä ketju -
It remains indiv. redemption. It is the neo-liberal, colonial secular religion. 28/
#RaceB4RaceNäytä tämä ketju -
[ Sorry! Missing all of this brilliance on "Tay's Harmony"...so quick, and I am unfamiliar. ] 29/
#RaceB4RaceNäytä tämä ketju -
Instances of female objectification in Clark's production fail to see, know the Shax critique of the Petrarchan blazon. It's creepy, making Tay into the kind of man that violent, competitive patriarchal culture makes. (citing Mulvey & other feminist critique) 30/
#RaceB4RaceNäytä tämä ketju -
This is consonant w/ Clark's transformation of Shax's tragedy into a comedy-romance. The deus ex machina comes after the murder of Tybolt, after Harmony (pregnant) has been hospitalized, & Tay is blamed. 31/
#RaceB4RaceNäytä tämä ketju - Näytä vastaukset
Uusi keskustelu -
Lataaminen näyttää kestävän hetken.
Twitter saattaa olla ruuhkautunut tai ongelma on muuten hetkellinen. Yritä uudelleen tai käy Twitterin tilasivulla saadaksesi lisätietoja.