The Pervasive Force of Music in African, Caribbean, and African American Drama

2003 ◽  
Vol 34 (2) ◽  
pp. 145-154
Author(s):  
Donald M. Morales
2001 ◽  
Vol 35 (2) ◽  
pp. 331
Author(s):  
N. Graham Nesmith ◽  
Christine Rauchfuss Gray

2019 ◽  
Vol 99 (1) ◽  
pp. 147-160
Author(s):  
Sujata Iyengar ◽  
Lesley Feracho

In 2016 Paapa Essiedu, a British actor of Ghanaian ancestry, starred as Hamlet in Simon Godwin’s lauded Royal Shakespeare Company (RSC) production, set in a post-colonial African state whose non-specificity nonetheless irritated some reviewers. We contend, however, that the production mixed multiple referents of blackness (Eastern African, West African, Caribbean, South African, 1970s African American) in order deliberately to create an imaginary post-colonial domain where these different kinds of diasporic blackness engaged with each other through the figure of Hamlet and his art. We therefore examine how the concept of race changes with the transatlantic or transnational movement among spaces in this production.


2013 ◽  
Vol 28 (16) ◽  
pp. 3223-3241 ◽  
Author(s):  
Bushra Sabri ◽  
Jamila K. Stockman ◽  
Desiree R. Bertrand ◽  
Doris W. Campbell ◽  
Gloria B. Callwood ◽  
...  

2015 ◽  
Vol 41 (1) ◽  
pp. 36-42 ◽  
Author(s):  
Jocelyn C. Anderson ◽  
Jamila K. Stockman ◽  
Bushra Sabri ◽  
Doris W. Campbell ◽  
Jacquelyn C. Campbell

MELUS ◽  
1991 ◽  
Vol 17 (4) ◽  
pp. 142
Author(s):  
Freda Scott Giles ◽  
Leo Hamalian ◽  
James V. Hatch

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