By Tejumola Olaniyan
This unique paintings redefines and broadens our figuring out of the drama of the English-speaking African diaspora. having a look heavily on the paintings of Amiri Baraka, Nobel prize-winners Wole Soyinka and Derek Walcott, and Ntozake Shange, the writer contends that the refashioning of the collective cultural self in black drama originates from the complicated intersection of 3 discourses: Eurocentric, Afrocentric, and Post-Afrocentric. From blackface minstrelsy to the Trinidad Carnival, from the Black Aesthetic to the South African Black cognizance theatres and the scholarly debate at the (non)existence of African drama, Olaniyan cogently maps the terrains of a cultural fight and underscores a weird scenario during which the inferiorization of black functionality varieties is mostly a shorthand for subordinating black tradition and corporeality. Drawing on insights from modern concept and cultural stories, and delivering distinct readings of the above writers, Olaniyan exhibits how they occupy the interface among the Afrocentric and a releasing Post-Afrocentric house the place black theatrical-cultural distinction may be expected as a website of a number of articulations: race, category, gender, style, and language.
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Extra info for Scars of Conquest Masks of Resistance: The Invention of Cultural Identities in African, African-American, and Caribbean Drama
Du Bois was to later play a prominent role in bringing to national prominence the problem of the representation of difference in American culture not only through his organizational acumen-his management of the National Association for the Advancement of Colored People (NAACP)—but also through his writings focusing on the politics of the production and circulation of cultural discourses and their attendant subjectivities. " took the form of a national debate as the Harlem Renaissance was just beginning.
What is at stake in all this is not simply how to think a named cultural form, but also—and perhaps more important—how to think "culture," the "cultural," and cultural translation. Cultural Identity as Articulation [C]ultural traditions are always a complex heritage, contradictory and heterogenous, an open set of options, some of which will be actualized by any given generation, which by adopting one choice sacrifices all the others . . [CJultural traditions can remain alive only if they are exploited anew, under one of their aspects at the expense of all the others .
Intelligence [isj invoked to proclaim the equality of men, [it has] also been employed to justify the extermination of men. Frantz Fanon65 Fanon's question and challenge define the space of an emerging discourse that tries at once to be both anticolonialist and post-Afrocentric. Its great distinguishing feature and strength is a more or less singular insistence on working through the excessive manichaeism of the Eurocentric and Afrocentric discourses and affirming instead the more difficult foundational premise of an irreversible imbrication of histories.