This chapter examines the different lenses through which Corippus represented the Moorish world. It looks first at the many terms the poet used to refer to all of the ‘Moorish’ groups within North Africa – ally or enemy alike. It then considers the specific ethnonyms within the Iohannis and addresses their value for our understanding of North Africa in this period. It notes that Corippus’ accounts of ‘Laguatan’ identity (an ethnonym preserved in many forms in the Iohannis, but unique to the poem) may well indicate forms of affiliation that were much more fluid than has previously been acknowledged, and incorporated a range of different groups, regardless of their origins.

The chapter closes with a discussion of the ‘catalogue of tribes’ in Iohannis Book II, which has been central to much modern scholarship. It argues that this catalogue was intended to evoke the final triumphal ceremony which marked the conclusion of John’s campaigns in 548. This has an important narrative function, but also reveals the cognitive assumptions which underpinned imperial views of the Moorish world from Carthage. This was not an ordered ‘map’ of tessellating tribal groups, but was instead an image of a diverse – but ultimately subjugated – world.

Chapter 2 addresses the history of Byzantine Africa 533–46. It argues that the principal challenges to imperial rule in Africa came from within the administration, rather than external pressure from hostile ‘Moorish’ groups as has conventionally been assumed. These internal tensions were manifested most clearly in a series of mutinies and revolts within the army, leading ultimately to a coup, probably in early 546, when the Dux Numidiarum Guntharith seized authority in Carthage. That many of the leading figures in the administration seem to have come to terms with this tyrant testifies to the weaknesses within the imperial system, and the challenges which faced John at the time of his landing around six months later. This chapter briefly explores the nature of relations between frontier commanders and their ‘barbarian’ neighbours, many of whom aspired to office within the imperial system. It suggests that the ‘Moorish’ crisis John faced in 546 (which had smouldered for three or four years by that stage), was the direct consequence of internecine struggles within the imperial system, as allies increasingly acted in their own interest

This chapter examines how early modern plays, if viewed as kinetic maps, articulate how an actor’s body reflects emotion through a range of gestural utterances that can perhaps be felt kinetically by audiences; it does so through the lens of race and performance. Taking Burbage’s performance of Othello as a case study and Imtiaz Habib’s documentary evidence of black lives in Tudor and Stuart England, Karim-Cooper speculates about black presence in the audience. As such theorizing about the relationship between movement, racial impersonation and audience response can unearth a reciprocal dynamic that forms the basis of early modern theatrical performance.

Linking the royal Tudor archive to the Tudor/Stuart stage, this article discloses the ways the stage constructs race in the service of nation and empire. From Elizabeth I’s proclamations calling for the expulsion of ‘blackamoors’ to George Peele’s The Battle of Alcazar, English conceptions of blackness expose the multifaceted nature of racial formation in the early modern period. The construction of race in early modern England is intimately linked to nascent and emergent English imperial ambitions and dependent upon trade, traffic, and enslavement, particularly in Africa. While previous scholarship on The Battle of Alcazar has focused on the Mediterranean milieu and the seemingly elastic racial signification of the identity marker, Moor, this study shifts both the geographical and racial focus to argue that the Atlantic and Africa are significant sites of imperial interest for the English and that blackness is being discursively produced in order to signal race.