The document discusses the history and development of feminist theatre, particularly as it relates to black women. It describes how early feminist theatre was dominated by white women and did not adequately address issues of race and class. It then focuses on the Theatre of Black Women, a feminist theatre company founded in 1982 in Britain with the aim of giving artistic expression to the experiences of black women, past and present. The company staged several productions over its existence before disbanding in 1988 due to financial difficulties.
Surviving Marginalization: Regional Language Indian Women Theatre Practition...inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
Surviving Marginalization: Regional Language Indian Women Theatre Practition...inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
Throughout the past several years, many people treated hip-hop as a brilliant resurgence of women who dominate the spotlight and charts. Traditionally, women performed specific roles in hip-hop. Women have been objectified in hip-hop through various forms of media. However, the role of women has evolved over generations to acquire an almost the same state as that of men.
The Feminist Porn Book is the first collection to bring togeth.docxarnoldmeredith47041
The Feminist Porn Book is the first collection to bring together writ-ings by feminist porn producers and feminist porn scholars to engage, challenge, and re-imagine pornography. As collaborating
editors of this volume, we are three porn professors and one porn direc-
tor who have had an energetic dialogue about feminist politics and por-
nography for years. In their criticism, feminist opponents of porn cast
pornography as a monolithic medium and industry and make sweep-
ing generalizations about its production, its workers, its consumers, and
its effects on society. These antiporn feminists respond to feminist por-
nographers and feminist porn professors in several ways. They accuse
us of deceiving ourselves and others about the nature of pornography;
they claim we fail to look critically at any porn and hold up all porn as
empowering. More typically, they simply dismiss out of hand our abil-
ity or authority to make it or study it. But The Feminist Porn Book offers
arguments, facts, and histories that cannot be summarily rejected, by
providing on-the-ground and well-researched accounts of the politics
of producing pleasure. Our agenda is twofold: to explore the emergence
and significance of a thriving feminist porn movement, and to gather
some of the best new feminist scholarship on pornography. By putting
our voices into conversation, this book sparks new thinking about the
richness and complexity of porn as a genre and an industry in a way that
helps us to appreciate the work that feminists in the porn industry are
doing, both in the mainstream and on its countercultural edges.
So to begin, we offer a broad definition of feminist porn, which will
be fleshed out, debated, and examined in the pieces that follow. As both
an established and emerging genre of pornography, feminist porn uses
sexually explicit imagery to contest and complicate dominant represen-
tations of gender, sexuality, race, ethnicity, class, ability, age, body type,
and other identity markers. It explores concepts of desire, agency, power,
beauty, and pleasure at their most confounding and difficult, including
pleasure within and across inequality, in the face of injustice, and against
the limits of gender hierarchy and both heteronormativity and homo-
Introduction: The Politics of Producing Pleasure
CONSTANCE PENLEY, CELINE PARREÑAS SHIMIZU,
MIREILLE MILLER-YOUNG, and TRISTAN TAORMINO
Feminist_Porn_v3.indd 9 11/14/12 2:24 PM
normativity. It seeks to unsettle conventional definitions of sex, and
expand the language of sex as an erotic activity, an expression of identity,
a power exchange, a cultural commodity, and even a new politics.
Feminist porn creates alternative images and develops its own aes-
thetics and iconography to expand established sexual norms and dis-
courses. It evolved out of and incorporates elements from the genres of
“porn for women,” “couples porn,” and lesbian porn as well as feminist
photography, performanc.
Throughout the past several years, many people treated hip-hop as a brilliant resurgence of women who dominate the spotlight and charts. Traditionally, women performed specific roles in hip-hop. Women have been objectified in hip-hop through various forms of media. However, the role of women has evolved over generations to acquire an almost the same state as that of men.
The Feminist Porn Book is the first collection to bring togeth.docxarnoldmeredith47041
The Feminist Porn Book is the first collection to bring together writ-ings by feminist porn producers and feminist porn scholars to engage, challenge, and re-imagine pornography. As collaborating
editors of this volume, we are three porn professors and one porn direc-
tor who have had an energetic dialogue about feminist politics and por-
nography for years. In their criticism, feminist opponents of porn cast
pornography as a monolithic medium and industry and make sweep-
ing generalizations about its production, its workers, its consumers, and
its effects on society. These antiporn feminists respond to feminist por-
nographers and feminist porn professors in several ways. They accuse
us of deceiving ourselves and others about the nature of pornography;
they claim we fail to look critically at any porn and hold up all porn as
empowering. More typically, they simply dismiss out of hand our abil-
ity or authority to make it or study it. But The Feminist Porn Book offers
arguments, facts, and histories that cannot be summarily rejected, by
providing on-the-ground and well-researched accounts of the politics
of producing pleasure. Our agenda is twofold: to explore the emergence
and significance of a thriving feminist porn movement, and to gather
some of the best new feminist scholarship on pornography. By putting
our voices into conversation, this book sparks new thinking about the
richness and complexity of porn as a genre and an industry in a way that
helps us to appreciate the work that feminists in the porn industry are
doing, both in the mainstream and on its countercultural edges.
So to begin, we offer a broad definition of feminist porn, which will
be fleshed out, debated, and examined in the pieces that follow. As both
an established and emerging genre of pornography, feminist porn uses
sexually explicit imagery to contest and complicate dominant represen-
tations of gender, sexuality, race, ethnicity, class, ability, age, body type,
and other identity markers. It explores concepts of desire, agency, power,
beauty, and pleasure at their most confounding and difficult, including
pleasure within and across inequality, in the face of injustice, and against
the limits of gender hierarchy and both heteronormativity and homo-
Introduction: The Politics of Producing Pleasure
CONSTANCE PENLEY, CELINE PARREÑAS SHIMIZU,
MIREILLE MILLER-YOUNG, and TRISTAN TAORMINO
Feminist_Porn_v3.indd 9 11/14/12 2:24 PM
normativity. It seeks to unsettle conventional definitions of sex, and
expand the language of sex as an erotic activity, an expression of identity,
a power exchange, a cultural commodity, and even a new politics.
Feminist porn creates alternative images and develops its own aes-
thetics and iconography to expand established sexual norms and dis-
courses. It evolved out of and incorporates elements from the genres of
“porn for women,” “couples porn,” and lesbian porn as well as feminist
photography, performanc.
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
The story of American Orchestras and Women
Orchestrating impartiality, innovating in auditions
Lucky ideas, the "clickety-clack" of high heels a Homage to Women in Music and Women Conductors
11. Political movement born in the 1960s
Emphasised on ‘sisterhood’: the ‘sameness’ of
women collectively oppressed by men.
12. Political movement born in the 1960s
Emphasised on ‘sisterhood’: the ‘sameness’ of
women collectively oppressed by men.
Overlook the historically determined material
conditions of gender, race, class & sexuality
13. Political movement born in the 1960s
Emphasised on ‘sisterhood’: the ‘sameness’ of
women collectively oppressed by men.
Overlook the historically determined material
conditions of gender, race, class & sexuality
Later phase of the movement sought to identify
their different experiences of oppression.
14. “ Black women wrote about how they
had been silenced, and challenged the
racist assumptions behind the almost
universally accepted white feminist
positions on violence against women,
the family and reproductive rights...”
(Harriss K, 1989)
17. Black Women
Experience of oppression was triply grounded: gender,
class & race.
Throughout the 1980s, the critical voices of Black women
in America & Britain established a critique of white
feminist theories
White feminists address racism of the Women’s
Movement.
19. White ‘Spaces’: Black Women
Feminist theatre of the 1970s dominated by white, middle-
class women.
20. White ‘Spaces’: Black Women
Feminist theatre of the 1970s dominated by white, middle-
class women.
White feminists created their own performance groups,
space or networks but had difficulties breaking down class
& racial barriers.
21. White ‘Spaces’: Black Women
Feminist theatre of the 1970s dominated by white, middle-
class women.
White feminists created their own performance groups,
space or networks but had difficulties breaking down class
& racial barriers.
In the Magdalena 1986 project, protests were made
about the possible elitism of the theatre.
24. Founded in Wales in 1986.
International network of women in contemporary theatre
25. Founded in Wales in 1986.
International network of women in contemporary theatre
Provides a platform for women’s performance work, a forum for critical
discussion & a source of support, inspiration & performance training.
26. Founded in Wales in 1986.
International network of women in contemporary theatre
Provides a platform for women’s performance work, a forum for critical
discussion & a source of support, inspiration & performance training.
African women were unable to accept the invitation in 1986 was due to
financial constraints, and lack of contacts.
27. Founded in Wales in 1986.
International network of women in contemporary theatre
Provides a platform for women’s performance work, a forum for critical
discussion & a source of support, inspiration & performance training.
African women were unable to accept the invitation in 1986 was due to
financial constraints, and lack of contacts.
Hosted a performance by the South African women’s group (the Visiwe
Players) in 1987
28. Founded in Wales in 1986.
International network of women in contemporary theatre
Provides a platform for women’s performance work, a forum for critical
discussion & a source of support, inspiration & performance training.
African women were unable to accept the invitation in 1986 was due to
financial constraints, and lack of contacts.
Hosted a performance by the South African women’s group (the Visiwe
Players) in 1987
Hosted a Magdalena event in Zimbabwe in 1994.
29. Founded in Wales in 1986.
International network of women in contemporary theatre
Provides a platform for women’s performance work, a forum for critical
discussion & a source of support, inspiration & performance training.
African women were unable to accept the invitation in 1986 was due to
financial constraints, and lack of contacts.
Hosted a performance by the South African women’s group (the Visiwe
Players) in 1987
Hosted a Magdalena event in Zimbabwe in 1994.
An example to show how feminist networks or companies seek to
engage Black women in their white ‘spaces’.
32. Policy Changes
Setting up policies was easier than fulfilling them
In 1989, Women’s Theatre Group put up their 1st all-black
performance but still needed to find ways to maintain the
involvement in the company other than writing &
performing.
33. Policy Changes
Setting up policies was easier than fulfilling them
In 1989, Women’s Theatre Group put up their 1st all-black
performance but still needed to find ways to maintain the
involvement in the company other than writing &
performing.
Women and Theatre Company tried to move towards a
multi-racial performance which meant more than employing
Black actresses.
34. Policy Changes
Setting up policies was easier than fulfilling them
In 1989, Women’s Theatre Group put up their 1st all-black
performance but still needed to find ways to maintain the
involvement in the company other than writing &
performing.
Women and Theatre Company tried to move towards a
multi-racial performance which meant more than employing
Black actresses.
Black actresses working in these companies experienced
difficulty in negotiating race & gender in their performances.
38. Theatre of Black Women
founded by Bernadine Evaristo, Patricia Hilaire & Paulette Randall
39. Theatre of Black Women
founded by Bernadine Evaristo, Patricia Hilaire & Paulette Randall
1982 - 1988
40. Th e Fo u n
de rs
Bernadine Paulette Randall
Evaristo
41.
42. Aim: Give an artistic expression to the experience of the Black
women past & present.
43. Aim: Give an artistic expression to the experience of the Black
women past & present.
A feminist theatre company because the founders defined
themselves as Black feminists and focuses on Black women’s work.
44. Aim: Give an artistic expression to the experience of the Black
women past & present.
A feminist theatre company because the founders defined
themselves as Black feminists and focuses on Black women’s work.
Their inaugural production in 1982 was a triple-bill of a one
woman shows which shared the common theme of being young,
Black and female in Britain.
45. Aim: Give an artistic expression to the experience of the Black
women past & present.
A feminist theatre company because the founders defined
themselves as Black feminists and focuses on Black women’s work.
Their inaugural production in 1982 was a triple-bill of a one
woman shows which shared the common theme of being young,
Black and female in Britain.
In 1986, worked with a Scottish-Nigerian lesbian poet and
dramatist Jackie Kay on Chiaroscuro.
46. Aim: Give an artistic expression to the experience of the Black
women past & present.
A feminist theatre company because the founders defined
themselves as Black feminists and focuses on Black women’s work.
Their inaugural production in 1982 was a triple-bill of a one
woman shows which shared the common theme of being young,
Black and female in Britain.
In 1986, worked with a Scottish-Nigerian lesbian poet and
dramatist Jackie Kay on Chiaroscuro.
Diversified their material in 1987.
47. Aim: Give an artistic expression to the experience of the Black
women past & present.
A feminist theatre company because the founders defined
themselves as Black feminists and focuses on Black women’s work.
Their inaugural production in 1982 was a triple-bill of a one
woman shows which shared the common theme of being young,
Black and female in Britain.
In 1986, worked with a Scottish-Nigerian lesbian poet and
dramatist Jackie Kay on Chiaroscuro.
Diversified their material in 1987.
Disbanded in 1988 due to hard financial times.
Women liberation movement is part of the political movement that was born in the 1960s during the second wave of feminism. The movement emphasized on ‘sisterhood’, the sameness of women collectively oppressed by men. In urging women to recognise their universal oppression, the movement advocated self definition. However, it tend to overlook the historically determined material conditions of gender, race, class & sexuality. As such, the later phase of the movement was characterised by a breaking up, a fragmentation of working-class women, women of ethnic backgrounds of all classes, lesbians, etc, and they sought to identify their different experiences of oppression which the white, middle-class, heterosexual Movement had overlook.\n
Women liberation movement is part of the political movement that was born in the 1960s during the second wave of feminism. The movement emphasized on ‘sisterhood’, the sameness of women collectively oppressed by men. In urging women to recognise their universal oppression, the movement advocated self definition. However, it tend to overlook the historically determined material conditions of gender, race, class & sexuality. As such, the later phase of the movement was characterised by a breaking up, a fragmentation of working-class women, women of ethnic backgrounds of all classes, lesbians, etc, and they sought to identify their different experiences of oppression which the white, middle-class, heterosexual Movement had overlook.\n
Women liberation movement is part of the political movement that was born in the 1960s during the second wave of feminism. The movement emphasized on ‘sisterhood’, the sameness of women collectively oppressed by men. In urging women to recognise their universal oppression, the movement advocated self definition. However, it tend to overlook the historically determined material conditions of gender, race, class & sexuality. As such, the later phase of the movement was characterised by a breaking up, a fragmentation of working-class women, women of ethnic backgrounds of all classes, lesbians, etc, and they sought to identify their different experiences of oppression which the white, middle-class, heterosexual Movement had overlook.\n
Women liberation movement is part of the political movement that was born in the 1960s during the second wave of feminism. The movement emphasized on ‘sisterhood’, the sameness of women collectively oppressed by men. In urging women to recognise their universal oppression, the movement advocated self definition. However, it tend to overlook the historically determined material conditions of gender, race, class & sexuality. As such, the later phase of the movement was characterised by a breaking up, a fragmentation of working-class women, women of ethnic backgrounds of all classes, lesbians, etc, and they sought to identify their different experiences of oppression which the white, middle-class, heterosexual Movement had overlook.\n
Women liberation movement is part of the political movement that was born in the 1960s during the second wave of feminism. The movement emphasized on ‘sisterhood’, the sameness of women collectively oppressed by men. In urging women to recognise their universal oppression, the movement advocated self definition. However, it tend to overlook the historically determined material conditions of gender, race, class & sexuality. As such, the later phase of the movement was characterised by a breaking up, a fragmentation of working-class women, women of ethnic backgrounds of all classes, lesbians, etc, and they sought to identify their different experiences of oppression which the white, middle-class, heterosexual Movement had overlook.\n
\n
\n
\n
Feminist theatre of the 1970s was dominated by the white, middle-class women, and was not representative of (for eg) working-class white women or black women from any class background. The white ‘centre’ of feminist theatre has been rethought by some white feminist theatre practitioners in the 1980s, while black women have also shaped feminist theatre by creating their own ‘spaces’ to write about the history of their oppressions into theatrical contexts.\n\nThe white feminists created their own performance groups, space or networks. However, they found it difficult to break down class and racial barriers in order to engage creatively with staging difference. Such attempts have not always been successful. An example of this is the Magdalena 1986 project. Protests were made about the possible elitism of the theatre the women were making and performing in terms of class & race. Some egs of issues raised: few women of colour who took part in the proceedings, and why there weren't any black women performers (although explained that they were invited but were unable to accept the invitation). No matter what, charges of racial prejudice remained.\n
Feminist theatre of the 1970s was dominated by the white, middle-class women, and was not representative of (for eg) working-class white women or black women from any class background. The white ‘centre’ of feminist theatre has been rethought by some white feminist theatre practitioners in the 1980s, while black women have also shaped feminist theatre by creating their own ‘spaces’ to write about the history of their oppressions into theatrical contexts.\n\nThe white feminists created their own performance groups, space or networks. However, they found it difficult to break down class and racial barriers in order to engage creatively with staging difference. Such attempts have not always been successful. An example of this is the Magdalena 1986 project. Protests were made about the possible elitism of the theatre the women were making and performing in terms of class & race. Some egs of issues raised: few women of colour who took part in the proceedings, and why there weren't any black women performers (although explained that they were invited but were unable to accept the invitation). No matter what, charges of racial prejudice remained.\n
Feminist theatre of the 1970s was dominated by the white, middle-class women, and was not representative of (for eg) working-class white women or black women from any class background. The white ‘centre’ of feminist theatre has been rethought by some white feminist theatre practitioners in the 1980s, while black women have also shaped feminist theatre by creating their own ‘spaces’ to write about the history of their oppressions into theatrical contexts.\n\nThe white feminists created their own performance groups, space or networks. However, they found it difficult to break down class and racial barriers in order to engage creatively with staging difference. Such attempts have not always been successful. An example of this is the Magdalena 1986 project. Protests were made about the possible elitism of the theatre the women were making and performing in terms of class & race. Some egs of issues raised: few women of colour who took part in the proceedings, and why there weren't any black women performers (although explained that they were invited but were unable to accept the invitation). No matter what, charges of racial prejudice remained.\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
In the 1986 project, the african women’s inability to accept the invitation was mainly due to financial. Also, at that time, the project just started and they lacked contacts with women in Africa. However, in 1987, just a year after, they were able to host a performance of ‘You strike the women, You strike the rock’ by the South African women’s group (the Visiwe Players). The company was already touring Britain, therefore a booking was financially viable. The issue on networking with African women was addressed, proven with the project holding a event in Zimbabwe in 1994. The Magdalena is an example to show how feminist networks or companies, seeking to engage Black women in their white spaces have had to take active steps to change the all-white composition of their members by implementing policy changes which would positively discriminate in the favour of the Black women. 2 groups which have worked in this way are Women’s Theatre Group & Women and Theatre Company.\n\n\n
Black actresses working in these companies experienced difficulty in negotiating race & gender in their performances. Eg: playing a ‘white’ role.\n
Black actresses working in these companies experienced difficulty in negotiating race & gender in their performances. Eg: playing a ‘white’ role.\n
Black actresses working in these companies experienced difficulty in negotiating race & gender in their performances. Eg: playing a ‘white’ role.\n
Black actresses working in these companies experienced difficulty in negotiating race & gender in their performances. Eg: playing a ‘white’ role.\n
\n
\n
\n
\n
\n
The bonding between Black women is important in their fight against oppression which helps them to define ‘feminism’ on their own terms. This was the aim of the company. They wanted to give an artistic expression to the experience of the Black women past & present. And by reliving their history and struggle in front of their eyes, it can help them define and name their own brand of feminism. Their earlier works were all written by themselves. They focused on work by the Black women, involved very few men and females of other colours. Theatre of the Black women was made by Black women representing themselves and their own perspectives and values. Their inaugural performances: Tiger Teeth Clenched Not to Bite by Bernadine Evaristo, Hey Brown Girl by Patricia Hilairie, and Chameleon by Paulette Randall. All the 3 performances revolved around the theme of being young, Black and female in the white-dominated Britain. In 1986, they worked with a Scottish-Nigerian lesbian poet and dramatist, Jackie Kay on her first play, Chiaroscuro. The play worked out on music, dance, dialogue and poetry. It tackled not only the question of Black female identity but also focused on the issue of sexuality. In 1987, the company diversified their material, producing The Cripple by Ruth Harris, based on a true story of a Jamaican woman crippled from birth, overcoming her disability; a piece of children’s theatre, Miss Quashi and the Tiger’s Tail by Gabriela and Jean Pearse; and another play by Ruth Harris, The Children.\n\n
The bonding between Black women is important in their fight against oppression which helps them to define ‘feminism’ on their own terms. This was the aim of the company. They wanted to give an artistic expression to the experience of the Black women past & present. And by reliving their history and struggle in front of their eyes, it can help them define and name their own brand of feminism. Their earlier works were all written by themselves. They focused on work by the Black women, involved very few men and females of other colours. Theatre of the Black women was made by Black women representing themselves and their own perspectives and values. Their inaugural performances: Tiger Teeth Clenched Not to Bite by Bernadine Evaristo, Hey Brown Girl by Patricia Hilairie, and Chameleon by Paulette Randall. All the 3 performances revolved around the theme of being young, Black and female in the white-dominated Britain. In 1986, they worked with a Scottish-Nigerian lesbian poet and dramatist, Jackie Kay on her first play, Chiaroscuro. The play worked out on music, dance, dialogue and poetry. It tackled not only the question of Black female identity but also focused on the issue of sexuality. In 1987, the company diversified their material, producing The Cripple by Ruth Harris, based on a true story of a Jamaican woman crippled from birth, overcoming her disability; a piece of children’s theatre, Miss Quashi and the Tiger’s Tail by Gabriela and Jean Pearse; and another play by Ruth Harris, The Children.\n\n
The bonding between Black women is important in their fight against oppression which helps them to define ‘feminism’ on their own terms. This was the aim of the company. They wanted to give an artistic expression to the experience of the Black women past & present. And by reliving their history and struggle in front of their eyes, it can help them define and name their own brand of feminism. Their earlier works were all written by themselves. They focused on work by the Black women, involved very few men and females of other colours. Theatre of the Black women was made by Black women representing themselves and their own perspectives and values. Their inaugural performances: Tiger Teeth Clenched Not to Bite by Bernadine Evaristo, Hey Brown Girl by Patricia Hilairie, and Chameleon by Paulette Randall. All the 3 performances revolved around the theme of being young, Black and female in the white-dominated Britain. In 1986, they worked with a Scottish-Nigerian lesbian poet and dramatist, Jackie Kay on her first play, Chiaroscuro. The play worked out on music, dance, dialogue and poetry. It tackled not only the question of Black female identity but also focused on the issue of sexuality. In 1987, the company diversified their material, producing The Cripple by Ruth Harris, based on a true story of a Jamaican woman crippled from birth, overcoming her disability; a piece of children’s theatre, Miss Quashi and the Tiger’s Tail by Gabriela and Jean Pearse; and another play by Ruth Harris, The Children.\n\n
The bonding between Black women is important in their fight against oppression which helps them to define ‘feminism’ on their own terms. This was the aim of the company. They wanted to give an artistic expression to the experience of the Black women past & present. And by reliving their history and struggle in front of their eyes, it can help them define and name their own brand of feminism. Their earlier works were all written by themselves. They focused on work by the Black women, involved very few men and females of other colours. Theatre of the Black women was made by Black women representing themselves and their own perspectives and values. Their inaugural performances: Tiger Teeth Clenched Not to Bite by Bernadine Evaristo, Hey Brown Girl by Patricia Hilairie, and Chameleon by Paulette Randall. All the 3 performances revolved around the theme of being young, Black and female in the white-dominated Britain. In 1986, they worked with a Scottish-Nigerian lesbian poet and dramatist, Jackie Kay on her first play, Chiaroscuro. The play worked out on music, dance, dialogue and poetry. It tackled not only the question of Black female identity but also focused on the issue of sexuality. In 1987, the company diversified their material, producing The Cripple by Ruth Harris, based on a true story of a Jamaican woman crippled from birth, overcoming her disability; a piece of children’s theatre, Miss Quashi and the Tiger’s Tail by Gabriela and Jean Pearse; and another play by Ruth Harris, The Children.\n\n
The bonding between Black women is important in their fight against oppression which helps them to define ‘feminism’ on their own terms. This was the aim of the company. They wanted to give an artistic expression to the experience of the Black women past & present. And by reliving their history and struggle in front of their eyes, it can help them define and name their own brand of feminism. Their earlier works were all written by themselves. They focused on work by the Black women, involved very few men and females of other colours. Theatre of the Black women was made by Black women representing themselves and their own perspectives and values. Their inaugural performances: Tiger Teeth Clenched Not to Bite by Bernadine Evaristo, Hey Brown Girl by Patricia Hilairie, and Chameleon by Paulette Randall. All the 3 performances revolved around the theme of being young, Black and female in the white-dominated Britain. In 1986, they worked with a Scottish-Nigerian lesbian poet and dramatist, Jackie Kay on her first play, Chiaroscuro. The play worked out on music, dance, dialogue and poetry. It tackled not only the question of Black female identity but also focused on the issue of sexuality. In 1987, the company diversified their material, producing The Cripple by Ruth Harris, based on a true story of a Jamaican woman crippled from birth, overcoming her disability; a piece of children’s theatre, Miss Quashi and the Tiger’s Tail by Gabriela and Jean Pearse; and another play by Ruth Harris, The Children.\n\n
The bonding between Black women is important in their fight against oppression which helps them to define ‘feminism’ on their own terms. This was the aim of the company. They wanted to give an artistic expression to the experience of the Black women past & present. And by reliving their history and struggle in front of their eyes, it can help them define and name their own brand of feminism. Their earlier works were all written by themselves. They focused on work by the Black women, involved very few men and females of other colours. Theatre of the Black women was made by Black women representing themselves and their own perspectives and values. Their inaugural performances: Tiger Teeth Clenched Not to Bite by Bernadine Evaristo, Hey Brown Girl by Patricia Hilairie, and Chameleon by Paulette Randall. All the 3 performances revolved around the theme of being young, Black and female in the white-dominated Britain. In 1986, they worked with a Scottish-Nigerian lesbian poet and dramatist, Jackie Kay on her first play, Chiaroscuro. The play worked out on music, dance, dialogue and poetry. It tackled not only the question of Black female identity but also focused on the issue of sexuality. In 1987, the company diversified their material, producing The Cripple by Ruth Harris, based on a true story of a Jamaican woman crippled from birth, overcoming her disability; a piece of children’s theatre, Miss Quashi and the Tiger’s Tail by Gabriela and Jean Pearse; and another play by Ruth Harris, The Children.\n\n