{"title":"Now Is Not the Time for Silence","authors":"Fanni V. Green","doi":"10.5622/ILLINOIS/9780252042423.003.0012","DOIUrl":null,"url":null,"abstract":"Focused on the author’s work as a womanist playwright, director, and acting professor, this chapter reveals the personal, political, and performative implications of her most recent play, What the Heart Remembers: the Women and Children of Darfur, a choreo-poem for voice, dance, and percussion. In this chapter, she writes about the conceptual process of the “choreo-poem” and her journey toward its production. As an artistic-activist educator, she utilizes the play’s thematic focus as her personal response to the gender politics of genocide and ongoing civil war between North and South Sudan, in Africa. She not only reflects upon her position as a black/woman of color, she also addresses the politics of race and gender border-crossing involved in the play’s production related to her collaboration with her colleague (a white female dance professor and choreographer for the play). In 2012, she and her colleague premiered What the Heart Remembers in Scotland at the Edinburgh International Theatre Festival.","PeriodicalId":401228,"journal":{"name":"Building Womanist Coalitions","volume":"39 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Building Womanist Coalitions","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5622/ILLINOIS/9780252042423.003.0012","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Focused on the author’s work as a womanist playwright, director, and acting professor, this chapter reveals the personal, political, and performative implications of her most recent play, What the Heart Remembers: the Women and Children of Darfur, a choreo-poem for voice, dance, and percussion. In this chapter, she writes about the conceptual process of the “choreo-poem” and her journey toward its production. As an artistic-activist educator, she utilizes the play’s thematic focus as her personal response to the gender politics of genocide and ongoing civil war between North and South Sudan, in Africa. She not only reflects upon her position as a black/woman of color, she also addresses the politics of race and gender border-crossing involved in the play’s production related to her collaboration with her colleague (a white female dance professor and choreographer for the play). In 2012, she and her colleague premiered What the Heart Remembers in Scotland at the Edinburgh International Theatre Festival.
本章聚焦于作者作为女性主义剧作家、导演和表演教授的作品,揭示了她最近的戏剧《心记得什么:达尔富尔的妇女和儿童》的个人、政治和表演含义,这是一部集声乐、舞蹈和打击乐为一体的编舞诗。在这一章中,她写了“舞蹈诗”的概念过程和她的创作之旅。作为一名艺术活动家教育家,她利用该剧的主题焦点作为她个人对种族灭绝的性别政治和非洲南北苏丹之间正在进行的内战的回应。她不仅反思了自己作为黑人/有色人种女性的地位,还谈到了与她的同事(一位白人女性舞蹈教授和该剧的编舞)合作的戏剧制作中涉及的种族和性别跨越的政治问题。2012年,她和同事在苏格兰爱丁堡国际戏剧节上首演了《What the Heart remember》。