Book contents
- Frontmatter
- Contents
- Notes on contributors
- 1 Introduction
- 2 The Wedding Community Play Project: a cross-community production in Northern Ireland
- 3 The Poor Theatre of Monticchiello, Italy
- 4 ‘What happened to you today that reminded you that you are a black man?’ The process of exploring black masculinities in performance, Great Britain
- 5 Wielding the cultural weapon after apartheid: Bongani Linda's Victory Sonqoba Theatre Company, South Africa
- 6 Dance and transformation: the Adugna Community Dance Theatre, Ethiopia
- 7 The Day of Mourning/Pilgrim Progress in Plymouth, USA. Contesting processions: a report on performance, personification and empowerment
- 8 South Asia's Child Rights Theatre for Development: the empowerment of children who are marginalised, disadvantaged and excluded
- 9 Theatre – a space for empowerment: celebrating Jana Sanskriti's experience in India
- Index
4 - ‘What happened to you today that reminded you that you are a black man?’ The process of exploring black masculinities in performance, Great Britain
Published online by Cambridge University Press: 22 September 2009
- Frontmatter
- Contents
- Notes on contributors
- 1 Introduction
- 2 The Wedding Community Play Project: a cross-community production in Northern Ireland
- 3 The Poor Theatre of Monticchiello, Italy
- 4 ‘What happened to you today that reminded you that you are a black man?’ The process of exploring black masculinities in performance, Great Britain
- 5 Wielding the cultural weapon after apartheid: Bongani Linda's Victory Sonqoba Theatre Company, South Africa
- 6 Dance and transformation: the Adugna Community Dance Theatre, Ethiopia
- 7 The Day of Mourning/Pilgrim Progress in Plymouth, USA. Contesting processions: a report on performance, personification and empowerment
- 8 South Asia's Child Rights Theatre for Development: the empowerment of children who are marginalised, disadvantaged and excluded
- 9 Theatre – a space for empowerment: celebrating Jana Sanskriti's experience in India
- Index
Summary
Blacks – in particular, black men – swap their experiences of police encounters like war stories, and there are few who don't have more than one story to tell.
Henry Louis Gates, JrWhile there has been much written about the experience of African-American men, a similar body of literature does not exist for issues of black masculinity in a British context. In Britain there has been a pathologised approach which sees black masculinity as constructed within a deviant youth subculture as a substitute for powerlessness. As bell hooks argues: ‘The portrait of black masculinity that emerges in this work perpetually constructs men as “failures”, who are psychologically “fucked up”, dangerous, violent sex maniacs whose insanity is informed by their inability to fulfill their phallocentric masculine destiny in a racist context.’
Power is central to any discussion of black masculinity, but different from the wider gendered power relations in society. Black masculinity can be best understood as an articulated response to structural inequality, acting out and subverting hegemonic definitions of power and control, rather than an alternative to them. Living in a culture where racist colonisation has designated black men as more body than mind, I am witness to, and participant in, the black bodily experience as collective memory. The severing of the mind from the body and the soul suggests a fragmentation of identity in the construction of black masculinities.
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- Theatre and EmpowermentCommunity Drama on the World Stage, pp. 60 - 93Publisher: Cambridge University PressPrint publication year: 2004
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