Quand se glisser dans la peau c’est s’immiscer dans la peau : antinoircité, proximité, résistance et le cas du spectacle SLĀV

SLĀV is a musical stage play directed by Robert Lepage, and based on recordings by singer Béatrice “Betty” Bonifassi. The recordings are Bonifassi’s reinterpretations of music composed by enslaved and incarcerated African Americans—that is Black people labouring under, and resisting, the conditions of slavery and its afterlife. Though Lepage and Bonifassi promoted the show as an homage to Black people, SLĀV opened at the 2018 Montreal International Jazz Festival to protests by the SLĀV Resistance Collective, accusing it of cultural appropriation. SLĀV was eventually cancelled as Black artists began pulling out of the festival. Unsurprisingly, Lepage, Bonifassi and much of the Quebec public accused the protestors of censorship, and of misunderstanding Quebec’s unique context. Situating its analysis within the field of Black Canadian Studies, in this article Howard examines the discourse around SLĀV as manifested through the words of Bonifassi, Lepage, journalists, and commenters. Howard argues that SLĀV instantiates the broader context of antiblackness in Quebec, and pays particular attention to gestures of inclusion and proximity consistent with modes of slavery and its afterlife in New France/Quebec. These gestures attempt to contain Blackness within national, linguistic, and other boundaries, disciplining the ways it is allowed to assert itself. Black resistance must therefore defy these boundaries and claim solidarity between and across variously located Black people.