Women S Activist Theatre In Jamaica And South Africa

Theater is an essential theoretical and practical site for forging Black radical thought, Africana feminisms, and womanism. Nicosia M. Shakes draws on ethnographic research in Jamaica and South Africa to analyze the vital relationship between activism and theater production. Concentrating on four performance events, Shakes situates the work of theater groups and projects within a trajectory of women-led social justice movements established in Jamaica, South Africa, and globally from the early 2000s to the present. Her analysis reveals movements driven by Black women’s artistic, intellectual, and organizational labor and focused on issues that range from sexual violence to reproductive justice to the spatial manifestations of racial, gender, and economic oppression. Shakes shows how theater’s political and pedagogical roles become entangled with histories and geographies of oppression and resistance; the identities and connections created by movements of people in the context of colonial and settler colonial histories; and ideas of womanism and feminism.

The Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration.

This book investigates women’s political activism and conflict in the struggle against apartheid in South Africa, using play texts, alongside interviews with female playwrights and women who worked within the theatre, to examine issues around domestic violence, racial abuse and women in detention without trial.

The contributions to this volume in the African Theatre series make clear that the role of women in the theatre across the continent has changed as control is mainly held by literate elites and women's traditional standing has been lost to men.

This book was first published in 2010. Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights. The dynamic relationship between performance and activism are illustrated in three case studies: Act One presents a battle between tradition and modernity as the bodies of African women are caught in the cross-fire. Act Two focuses on 'water democracy' as activists fight for safe, accessible public water as a human right. Act Three examines the efficacy of street performance and theatre for development in the oral histories of Ghanaian gender activists. Unique to this book is the continuing juxtaposition between the everyday performances of local activism and their staged enactments before theatre audiences in Ghana and the USA. Madison beautifully demonstrates how these disparate sites of performance cohere in the service of rights, justice, and activism.

Care activism challenges the stereotype of downtrodden migrant caregivers by showing that care workers have distinct ways of caring for themselves, for each other, and for the larger transnational community of care workers and their families. Ethel Tungohan illuminates how the goals and desires of migrant care worker activists goes beyond political considerations like policy changes and overturning power structures. Through practices of subversive friendships and being there for each other, care activism acts as an extension of the daily work that caregivers do, oftentimes also instilling practices of resistance and critical hope among care workers. At the same time, the communities created by care activism help migrant caregivers survive and even thrive in the face of arduous working and living conditions and the pains surrounding family separation. As Tungohan shows, care activism also unifies caregivers to resist society’s legal and economic devaluations of care and domestic work by reaffirming a belief that they, and what they do, are important and necessary.

This is the first anthology to focus exclusively on the lives of Black South African women. This collection represents the work of both female and male writers, including national and international award-winning playwrights. The collection includes six full-length and four one-act plays, as well as interviews with the writers, who candidly discuss the theatrical and political situation in the new South Africa. Written before and after apartheid, the plays present varying approaches and theatrical styles from solo performances to collective creations. The plays dramatise issues as diverse as: * women's rights * displacement from home * violence against women * the struggle to keep families together * racial identity * education in the old and new South Africa * and health care.

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