{"title":"Nepantlera as Midwife of Empathy","authors":"Paul T. Corrigan","doi":"10.5622/ILLINOIS/9780252042423.003.0008","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042423.003.0008","url":null,"abstract":"This chapter develops Gloria E. Anzaldúa’s concept of the nepantlera—her Nahuatl-derived term for in-betweeners and bridge builders—by envisioning the nepantlera as a “midwife” who helps people figuratively give birth to empathy for others. The practice of midwifing empathy motivates the work of womanist artists in particular. This essay elucidates this metaphor and practice of midwifing empathy by analyzing works from the womanist anthology this bridge we call home—a painting by Nova Gutierrez, a short story by Iobel Andemicael, and a memoir by Jesse Swan. The essay concludes with reflections on the implications of the work of nepantlera for teaching and for social justice.","PeriodicalId":401228,"journal":{"name":"Building Womanist Coalitions","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114300710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Now Is Not the Time for Silence","authors":"Fanni V. Green","doi":"10.5622/ILLINOIS/9780252042423.003.0012","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042423.003.0012","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":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115162674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“I Come from a Dream Deferred”","authors":"Erica C. Sutherlin","doi":"10.5622/ILLINOIS/9780252042423.003.0013","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042423.003.0013","url":null,"abstract":"The author of the poem “I Come from a Dream Deferred” speaks unapologetically about the complex identity politics related to the herstory of “Third World” women in the United States. The poem’s theme resonates within the twists and turns of strategic movement for survival—not only in body, but mind and spirit as well. It is insightfully clear that the territorial background the poet’s narrator finds herself tied down to is filled with a politics of race, gender, class, and sexual identities violated by institutionalized and systemic power dynamics perpetuating a politics of inhumanity toward the “Other”—especially connected to the subjugation of the feminine. However, the narrator clearly comprehends what enabled her to survive that which she was not meant on earth to survive. According to her, it’s a “soul” matter determined by “the source [known as] the spirit,” the only “one, the god,” who possessed the power to [give] birth to the feminine.” The life-giver of the feminine that the narrator references here is the same inspirited one that Alice Walker references.","PeriodicalId":401228,"journal":{"name":"Building Womanist Coalitions","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114892580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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