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James Baldwin, Teju Cole, and Glenn Ligon
Monika Gehlawat

This essay uses Edward Said’s theory of affiliation to consider the relationship between James Baldwin and contemporary artists Teju Cole and Glenn Ligon, both of whom explicitly engage with their predecessor’s writing in their own work. Specifically, Baldwin’s essay “Stranger in the Village” (1953) serves a through-line for this discussion, as it is invoked in Cole’s essay “Black Body” and Ligon’s visual series, also titled Stranger in the Village. In juxtaposing these three artists, I argue that they express the dialectical energy of affiliation by articulating ongoing concerns of race relations in America while distinguishing themselves from Baldwin in terms of periodization, medium-specificity, and their broader relationship to Western art practice. In their adoption of Baldwin, Cole and Ligon also imagine a way beyond his historical anxieties and writing-based practice, even as they continue to reinscribe their own work with his arguments about the African-American experience. This essay is an intermedial study that reads fiction, nonfiction, language-based conceptual art and mixed media, as well as contemporary politics and social media in order consider the nuances of the African-American experience from the postwar period to our contemporary moment. Concerns about visuality/visibility in the public sphere, narrative voice, and self-representation, as well as access to cultural artifacts and aesthetic engagement, all emerge in my discussion of this constellation of artists. As a result, this essay identifies an emblematic, though not exclusive, strand of African-American intellectual thinking that has never before been brought together. It also demonstrates the ongoing relevance of Baldwin’s thinking for the contemporary political scene in this country.

James Baldwin Review
Lindsey R. Swindall

Last year, in the dispatch “There Is No Texting at James Baldwin’s Table,” I began to assess the ways in which audiences were engaging with Baldwin’s writing at several public discussions that I co-facilitated with NYC actor/comedian Grant Cooper. Based on the initial reaction to two five-part Baldwin conversations at a high school and middle school in Manhattan, I posited that a need for meaningful communion is drawing people to discuss the writer. As I wrote that article, I was busy scheduling seven new Baldwin discussions in communities across New Jersey and another five-part series in Manhattan. Having completed those sessions, I am pleased to report that Baldwin’s welcome table is indeed a powerful vehicle for engaging in impactful dialogue. This dispatch will demonstrate that discussing Baldwin not only opened an avenue for productive sharing but went further by inspiring people to ask how they could contribute to hastening positive social and personal transformation. Three questions will frame this analysis of putting the welcome table into practice: How many people want to sit at James Baldwin’s table? Can conversations about James Baldwin sustain more “welcome table moments”? Can these interactions create a sense of kinship that deepens personal interaction in the digital age?

James Baldwin Review
Open Access (free)
New perspectives on socially engaged performance

The book advances our understanding of performance as a mode of caring and explores the relationship between socially engaged performance and care. It creates a dialogue between theatre and performance, care ethics and other disciplinary areas such as youth and disability studies, nursing, criminal justice and social care. Challenging existing debates in this area by rethinking the caring encounter as a performed, embodied experience and interrogating the boundaries between care practice and performance, the book engages with a wide range of different care performances drawn from interdisciplinary and international settings. Drawing on interdisciplinary debates, the edited collection examines how the field of performance and the aesthetic and ethico-political structures that determine its relationship with the social might be challenged by an examination of inter-human care. It interrogates how performance might be understood as caring or uncaring, careless or careful, and correlatively how care can be conceptualised as artful, aesthetic, authentic or even ‘fake’ and ‘staged’. Through a focus on care and performance, the contributors in the book consider how performance operates as a mode of caring for others and how dialogical debates between the theory and practice of care and performance making might foster a greater understanding of how the caring encounter is embodied and experienced.

Open Access (free)
Female theatre workers and professional practice

Stage women, 1900–50 explores the many ways in which women conceptualised, constructed and participated in networks of professional practice in the theatre and performance industries between 1900 and 1950. A timely volume full of original research, the book explores women’s complex negotiations of their agency over both their labour and public representation, and their use of personal and professional networks to sustain their careers. Including a series of case studies that explore a range of well-known and lesser-known women working in theatre, film and popular performance of the period. The volume is divided into two connected parts. ‘Female theatre workers in the social and theatrical realm’ looks at the relationship between women’s work – on- and offstage – and autobiography, activism, technique, touring, education and the law. Part II, ‘Women and popular performance’, focuses on the careers of individual artists, once household names, including Lily Brayton, Ellen Terry, radio star Mabel Constanduros, and Oscar-winning film star Margaret Rutherford. Overall, the book provides new and vibrant cultural histories of women’s work in the theatre and performance industries of the period.

Open Access (free)
Caring performance, performing care
Amanda Stuart Fisher

performances can be caring, responsive and attentive but also how social, medical and ecological practices of care can be understood as being artful, aesthetic, rehearsed and performative. Correlatively, the critical discussions in this book also call for reflection on performance practices that are uncaring , that are not constructed around an affective attentiveness towards the other and that devalue relationships of interdependence; for example, practices that instrumentalise participation or that inadvertently predetermine or enforce certain narratives of change and

in Performing care
Open Access (free)
Jen Archer-Martin and Julieanna Preston

patriarchal justice, embracing a feminine, relational voice of care, Fisher and Tronto’s ( 1990 ) version extended caring from a human–human to human–environment activity, including world-making and maintenance labours. Understandings of care as a social activity, having influenced practices such as nursing, are now filtering across disciplinary boundaries into such fields as performance and design. The present edited collection picks up that discussion at the care/performance intersection, weaving a conversation around care and socially engaged performance. We seek to

in Performing care
Chloe Porter

education’, equipping a gentleman with the visual skills necessary for battle and land management. 129 In The Art of Drawing (1606), Peacham links the educational benefits of his work to social status, stating that for a ‘scholer’ in the practices he describes, he would ‘make choise of … a yong Gentleman’. 130 It is worth pointing out that The Art of Drawing is an earlier version of The

in Making and unmaking in early modern English drama
Beholding young people’s experiences and expressions of care through oral history performance
Kathleen Gallagher and Rachel Turner-King

-collaborator had creative agency to interpret these modes of practice and adapted the structure and content to suit their research contexts. Connecting these global/local investigations, Gallagher’s Toronto research team visited and spent time with each of the different collaborators and their research participants in their specific locales. Andrew Kushnir, the embedded playwright for the Radical Hope project, and creative director of Toronto-based, socially engaged theatre company, Project: Humanity, 2 has produced a verbatim play, Towards Youth , created out of the data

in Performing care
Barbery, earwax and snip-snaps
Eleanor Decamp

’.50 Indeed, the chiming barber’s basin was acoustically tagged to denote something other than barbery practice: it was code for prostitution, the acoustic equivalent of a red light. In Epicoene Morose says, ‘Let there be no bawd carted that year to employ a basin of [Cutbeard’s]’ (3.5.83–84). When Rafe knocks on Barbaroso’s basins, he signals to the audience the subject of sexual indiscretion but he does not understand the social meaning of the sound he creates and misreads his purpose in the barber’s lair. Music-making is also a nodal image of activity in the

in The senses in early modern England, 1558–1660
David Colclough

frame of Laws, or the best state or mould of a commonwealth; but foreseeing that it would be a long work, his desire of collecting the Natural History diverted him.’6 Natural history is privileged above political theory, just as the New Atlantis itself, ‘A Worke unfinished’, is placed at the end of the volume containing the Sylva Sylvarum, natural history collected from a mixture of observation and reading. In the New Atlantis, the practice of science appears to be kept institutionally and geographically separate from politics, with considerable autonomy being given

in Francis Bacon’s New Atlantis