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Forum: Shakespeare and Black America

Published online by Cambridge University Press:  11 October 2019

PATRICIA A. CAHILL
Affiliation:
English Department, Emory University. Email: pcahill@emory.edu.
KIM F. HALL
Affiliation:
Department of English, Barnard College/Columbia University. Email: khall@barnard.edu.

Abstract

This introduction both models how one might read race, blackness, activism and Shakespeare and contextualizes the many “Shakespeares” that might be at work in the essays in this cluster, which emerge from the Shakespeare Association of America seminar Shakespeare and Black America. It suggests that scholars in this Shakespearean subfield have political, pedagogical and personal investments that both overlap with and diverge from Shakespeare study as traditionally understood. It addresses some of the complexities of performing, teaching and reading Shakespeare not as an agent of cultural dominion, but as part of resistance and activism in black America.

Type
Forum
Copyright
Copyright © Cambridge University Press and British Association for American Studies 2019

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References

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2 McAllister, Marvin Edward, White People Do Not Know How to Behave at Entertainments Designed for Ladies & Gentlemen of Colour: William Brown's African & American Theater (Chapel Hill: University of North Carolina Press, 2003), 14Google Scholar. The definitive history of Shakespeare and African American performance remains Hill, Errol, Shakespeare in Sable: A History of Black Shakespearean Actors (Amherst: University of Massachusetts Press, 1984)Google Scholar.

3 The authors would like to thank the contributors to the SAA seminar, not just for their papers, but also for the generative discussion. Several of the points raised in the essay came from questions and concerns raised in Atlanta by participants and auditors, including respondent Emily M. N. Kugler.

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7 Readings circulated were Amy E. Earhart and Toniesha L. Taylor, “Pedagogies of Race: Digital Humanities in the Age of Ferguson,” at http://dhdebates.gc.cuny.edu/debates/text/72; Errol Hill, “From Artist to Activist,” in Hill, Shakespeare in Sable, 64–78; King., Joyce E.In Search of a Method for Liberating Education and Research: The Half (That) Has Not Been Told,” in Dysconscious Racism, Afrocentric Praxis, and Education for Human Freedom: Through the Years I Keep on Toiling, The Selected Works of Joyce E. King (New York: Routledge, 2015), 3053Google Scholar; McAllister, Marvin, “Shakespeare Visits the Hilltop: Classical Drama and the Howard College Dramatic Club,” in Godfrey, Mimi, Kahn, Coppélia, and Nathans, Heather, eds., Shakespearean Educations: Power, Citizenship, and Performance (Wilmington: University of Delaware Press, 2011), 219–46Google Scholar; Thompson, Ayanna, “Reform: Redefining Authenticity in Shakespeare Reform Programs,” in Thompson, Passing Strange: Shakespeare, Race, and Contemporary America (New York: Oxford University Press, 2011), 119–44CrossRefGoogle Scholar; Barbara Bogaev, American Moor, Shakespeare Unlimited, at www.folger.edu/shakespeare-unlimited/american-moor, accessed 9 Aug. 2016.

8 Valerie Strauss and Dana Dusbiber, “Teacher: Why I Don't Want to Assign Shakespeare Anymore (Even Though He's in the Common Core),” Washington Post, 13 June 2015, sec. Answer Sheet, at www.washingtonpost.com/news/answer-sheet/wp/2015/06/13/teacher-why-i-dont-want-to-assign-shakespeare-anymore-even-though-hes-in-the-common-core.

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