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This accessible introduction challenges fixed understandings of the geographical or conceptual 'origins' of feminist performance, offering a fresh and open-ended guide to the moments and movements that have come to define this vital field.
List of contents
INTRODUCTIONCHAPTER 1: The Postcolonial Turn In Feminist Theatre and Performance. Case Study: Pakistan
CHAPTER 2: Black Performance in Brazil.
Black Skin, White Masks as Intersectional and Decolonial Feminist Performance Practice
CHAPTER 3: French Afrofeminist Performance: A Rising Wave Since the 2010s
CHAPTER 4: Feminist Performance Art in the Americas
CHAPTER 5: The 'Arab Spring' as a Milestone in Feminist Performance
CHAPTER 6:The Queer Turn: Gender as Performance
CHAPTER 7: Larval Ecologies: Femi-Queer-Crip Performance Practice at the Edge of the Sixth Extinction
CHAPTER 8: Transfeminist Performance: A Liberatory Praxis
CHAPTER 9: Decolonizing the Posthuman in Feminist Performance: From Cyborgs to Inhuman and Non-Human Figures
CHAPTER 10: Do Feminist Milestones Burn? Pussy Riot's Punk Prayer in Times of War
TIMELINEGLOSSARY
About the author
Tiina Rosenberg is Professor Emerita in Theatre Studies at the Department of Culture and Aesthetics, Stockholm University. Previously, she held professorships in gender studies at Stockholm and Lund Universities and served as the vice-chancellor of the University of the Arts Helsinki (Finland). Rosenberg has extensively explored performing arts, feminism, and queer theory in her writings.
Fawzia Afzal-Khan is Professor of English and former Director of Women and Gender Studies (now Gender, Sexuality, and Women's Studies) at Montclair State University (US). Specializing in Feminist Theory, Cultural, Performance, and Postcolonial Studies, she designed and instructs MSU's inaugural course on Muslim women's writings, alongside an Honors course in Muslim Pop Culture.
Sandra D'Urso obtained her PhD from the University of Melbourne Faculty of Arts and is an independent scholar in Melbourne (Australia). Their primary interests include feminist performance art, Australian theater, and contemporary performance art within states of exception.
Summary
This accessible introduction challenges fixed understandings of the geographical or conceptual ‘origins’ of feminist performance, offering a fresh and open-ended guide to the moments and movements that have come to define this vital field.
