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Postcolonial Opera examines the social and political role of opera in the postcolony. Taking the multimedia operatic experiments of William Kentridge, South Africa's most celebrated contemporary visual artist, as a starting point, author Juliana M. Pistorius investigates contemporary opera's potential to process the troubled histories that haunt post- and decolonial societies.
List of contents
- Acknowledgements
- About the Companion Website
- List of Figures
- Introduction
- Chapter 1: Return
- Chapter 2: Confession
- Chapter 3: Mourning
- Chapter 4: Time
- Chapter 5: Place
- Chapter 6: Totality
- Conclusion: Future
- Bibliography
- Index
About the author
Juliana M. Pistorius is a Marie Sklodowska Curie Global Research Fellow at University College London and the University of the Witwatersrand, South Africa. Her research engages with questions of race, coloniality, and political resistance in Western art music, with a special focus on opera in apartheid and post-apartheid South Africa. Since graduating with a DPhil from the University of Oxford she has held a Leverhulme Early Career Research Fellowship at the University of Huddersfield and has been admitted as a research fellow to Africa Open Institute for Music, Research, and Innovation at the Stellenbosch University. She is a founding member of the Black Opera Research Network (BORN) and the reviews editor for
Cambridge Opera Journal.
Summary
Postcolonial Opera examines the social and political role of opera in the postcolony. Taking the multimedia operatic experiments of William Kentridge, South Africa's most celebrated contemporary visual artist, as a starting point, author Juliana M. Pistorius investigates contemporary opera's potential to process the troubled histories that haunt post- and decolonial societies.
