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Historian Isidor Paiewonsky, in his book Eyewitness Accounts of Slavery in the Danish West Indies, describes the performative heritage and practice of Caribbean blacks from the Virgin Islands during their time of forced servitude.

Dutchman presents a stylized encounter that illustrates hatred between blacks and whites in America as well as the political and psychological conflicts facing men in the 1960s.

The play won an Obie Award as best American play of 1964; it was made into a film in 1967.

The Dutchman Amiri Baraka Pdf Set in a subway car, the play involves Clay, a young, middle-class black man who is approached seductively by Lula, a white fellow passenger.

This article was most recently revised and updated by, Senior Editor.

Book Description:Generating a new understanding of the pastas well as a vision for the futurethis path-breaking volume contains essays written by playwrights, scholars, and critics that analyze African American theatre as it is practiced today.Even as they acknowledge that Black experience is not monolithic, these contributors argue provocatively and persuasively for a Black consciousness that creates a culturally specific theatre.

This theatre, rooted in an African mythos, offers ritual rather than realism; it transcends the specifics of social relations, reaching toward revelation.

The ritual performance that is intrinsic to Black theatre renews the community; in Paul Carter Harrisons words, it reveals the Form of Things Unknown in a way that binds, cleanses, and heals.

In 1996 Pulitzer Prizewinning playwright August Wilson dropped the gauntlet on skepticism about the validity of Black Theatre.

His keynote address, The Ground on Which I Stand, delivered at the eleventh Biennial Theatre Communications Group National Conference at Princeton University, became the occasion for Wilson to remind us that the term black or African-American not only denotes race, it denotes condition, and carries with it the vestige of slavery and the social segregation and abuse of opportunity so vivid in our memory.

And because of the unrelieved abuse of opportunity and truncation of possibility, it becomes imperative to alter.

The terms theatreand drama will be used throughout this section and throughout this book as terms that are inclusive of ritual, ceremony, carnival, masquerade, testimonials, rites of passage, the blues, improvisation, Negro spirituals, spoken word, hiphop, storytelling, and other performative modes of expression rooted in the ancestral ethos of black Africans in the Diaspora.

That is, we regard these terms as encompassing much more than the conventional disciplines that, according to the Nigerian philosopher, playwright, and Nobel laureate Wole Soyinka, Western European man later reduced to specialist terminologies through his chronic habit of compartmentilisation.

Seabrook gives an eyewitness account of a Voodoo substitution sacrifice which I have always found most fascinating, as illustrating the awesome relationship between role-playing and sympathetic magic.

The worship of the Voodoo god Damballa Ouedo would seem to require periodically the sacrifice of a human being, and in the distant past humans may actually have been so sacrificed.

The term African American reflects the two-ness of the black experience in North America, denoting what W.E.B.

DuBois aptly described as a double-consciousness, that is, a sense of being an African and American at the same time, two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body.

As Ronne Hartfield puts it,The experience of African peoples in America is inherently and profoundly characterized by the act of looking backward.

The historicity of contemporary black (African, African-American, and Caribbean) dramatic practice is unintelligible outside the agonistic interactions among three main competing, more-or-less coherent discursive formations: the hegemonic, colonialist Eurocentric; the counterhegemonic, anticolonialist Afrocentric; and an emerging post-Afrocentric, which subverts both the Eurocentric and the Afrocentric while refining and advancing the aims of the latter.

The emphasis here is on the sociality of the discourses as concrete practices within contested and contestable spaces.

For instance, the Eurocentric discourse on black drama is thinkable only within the materiality of the rise of Europe, the conquest and enslavement of African peoples, colonialism, neocolonialism.

When dusk heightens, like amber on a stage set, those ramshackle hoardings of wood and rusting iron which circle our cities, a theatrical sorrow rises with it, for the glare, like the aura from an old-fashioned brass lamp is like a childhood signal to come home.

Light in our cities keeps its pastoral rhythm, and the last home-going traffic seems to rush through darkness that comes from suburban swamp or forest in a noiseless rain.

In true cities another life begins: neons stutter to their hysterical pitch, bars, restaurants and cinemas blaze with artifice, and Mammon takes over the switchboard.

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