This book is part of a three-volume book-set published under the general title of Performative Inter-Actions in African Theatre. Each of the three books in the set has a unique subtitle that works to ...better focus its content, and differentiates it from the other two volumes. The contributors' backgrounds and global spread adequately reflect the international focus of the three books that make up the collection. The contributions, in their various ways, demonstrate the many advances and ingenious solutions adopted by African theatre practitioners in tackling some of the challenges arising from the adverse colonial experience, as well as the "one-sided" advance of globalisation. The contributions attest to the thriving nature of African theatre and performance, which in the face of these challenges, has managed to retain its distinctiveness, while at the same time acknowledging, contesting, and appropriating influences from elsewhere into an aesthetic that is identifiably African. Consequently, the three books are presented as a comprehensive exploration of the current state of African theatre and performance, both on the continent and diaspora.Performative Inter-Actions in African Theatre 3: Making Space, Rethinking Drama and Theatre in Africa offers essays that seek to re-conceptualise notions of drama and theatre in Africa, and therefore redefine our understanding of the practice, role, and place they occupy in a constantly evolving African socio-cultural contexts. Contributions in Making Space, Rethinking Drama and Theatre in Africa range from essays that explore notions of space in performance, to those that challenge the perceived orthodoxy of conventional forms and approaches to theatre.
This book profiles four generations of women from one Afro-Cuban religious family. From a plantation in Havana Province in the 1890s to a religious center in Spanish Harlem in the 1960s, these women ...were connected by their prominent roles as leaders in the religions they practiced and the dramatic ritual artwork they created. Each woman was a medium in Espiritismo-communicating with dead ancestors for guidance or insight-and also a santera, or priest of Santería, who could intervene with the oricha pantheon.
Kristine Juncker argues that, by creating art for more than one religion, these women shatter the popular assumption that Afro-Caribbean religions are exclusive organizations. Most remarkably, the portraiture, sculptures, and photographs in Afro-Cuban Religious Arts offer rare glimpses into the rituals and iconography of these religions. Santería altars are closely guarded, limited to initiates, and typically destroyed upon the death of the santera, while Espiritismo artifacts are rarely considered valuable enough to pass on. The unique and protean cultural legacy detailed here reveals insights into how ritual art became popular imagery, sparked a wider dialogue about culture inheritance, attracted new practitioners, and enabled the movement to explode internationally.
Le tecniche di microinnesti del cuoio capelluto sono essenzialmente legate al metodo di prelievo. Il prelievo di una striscia di cuoio capelluto senza preventiva rasatura consente, dopo ritaglio al ...microscopio, l’ottenimento di unità follicolari a capelli lunghi (FUL) o dopo rasatura preliminare (FUT). La foratura di un cuoio capelluto rasato con un punch di circa 0,8 mm consente l’escissione di unità follicolari (FUE). Le indicazioni sono principalmente le alopecie androgenetiche maschili e femminili, ma anche le alopecie cicatriziali, le alopecie da trazione degli afroamericani e i diradamenti della barba e delle sopracciglia.
Civil War officer, Reconstruction "carpetbagger," best-selling novelist, and relentless champion of equal rights, Albion Tourgée battled his entire life for racial justice. Now, in this engaging ...biography, Mark Elliott offers an insightful portrait of a fearless lawyer, jurist, and writer, who fought for equality long after most Americans had abandoned the ideals of Reconstruction. Elliott provides a fascinating account of Tourgée's life, from his childhood in the Western Reserve region of Ohio (then a hotbed of abolitionism), to his years as a North Carolina judge during Reconstruction, to his memorable role as lead plaintiff's counsel in the landmark Supreme Court case Plessy v. Ferguson. Tourgée's brief coined the phrase that justice should be "color-blind," and his career was one long campaign to made good on that belief. A redoubtable lawyer and an accomplished jurist, Tourgée wrote fifteen political novels, eight books of historical and social criticism, and several hundred newspaper and magazine articles that all told represent a mountain of dissent against the prevailing tide of racial oppression. Through the lens of Tourgée's life, Elliott illuminates the war of ideas about race that raged through the United States in the nineteenth century, from the heated debate over slavery before the Civil War, through the conflict over aid to freedmen during Reconstruction, to the backlash toward the end of the century, when Tourgée saw his country retreat from the goals of equality and freedom and utterly repudiate the work of Reconstruction. A poignant and inspiring study in courage and conviction, Color Blind Justice offers us an unforgettable portrayal of Albion Tourgée and the principles to which he dedicated his life.
PDF
