The Sounds of Black and Brown Performance|
Spring 2019 not offered
ENGL 363, THEA 366, AFAM 362|
This course organizes itself as a scene of listening with care to black and brown sounds, where listening is conceived as a mode of audience engagement of performances informed by avant-garde, queer, and critical race theories. Listening, then, is part of the artistic-theoretical practices that students will both read about and act out in this course. Here, we will engage theater, dance, and performance with the demand of listening in brown for the distinct sounds made in different performances, whether by identifiably racialized artist-subjects or not, and how they compel us to think of embodiment. If to say black is to say abjection, prison, AIDS, as well as the generative, the contra-rationally beautiful (Moten), and if to say "gender-y" is to say threatening, off-kilter, violatable, as well playful, and transformative (Sedgwick, Doyle), then what happens when we listen in brown, that is, with the headphones of melancholia, depression, as well as wildness, the excessive, the "hot and spicy" as critiques of the violence of the whitened norm (Muñoz)?
||Gen Ed Area Dept:
|Course Format: Lecture||Grading Mode: Graded|
||Fulfills a Major Requirement for: (THEA)
Playwrights, artists, and choreographers may include: Cherrie Moraga, Ana Mendieta, ASCO, Carmelita Tropicana, Pedro Pietri, Ricardo Bracho, Alice Bag, Luis Valdez, Jennifer Doyle, Jennifer Christine Nash, Amiri Baraka, boychild, Wu-Tsang, Sharon Hayes, Fred Moten, Mel Chen, Nao Bustamante, Beatriz Santiago Muñoz, Miguel Gutiérrez, Ginger Brooks Takahashi, Geo Wyeth, Faye Driscoll, and M. Lamar, among others.
|Additional Requirements and/or Comments: |
In addition to submitting an electronic POI request, please tell the instructors, in three sentences, what your stakes are for being in this course. Also state what it is you are studying/doing to demonstrate these stakes.
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