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160 A Round

and Rebecca Schneider introduction byBethCapper Paige A.McGinley Jasmine Elizabeth Johnson, Sarah Jane Cervenak, Kimberly Juanita Brown, in aRound A Set ofFour Essays Reproduction and Performance Black

A Round 161 visible, visible, relation — and black generation — (2010). See “’s Badu’s “Erykah See (2010). Seat Window TDR: The Drama Review 62:1 (T237) Spring 2018. ©2018 Review 62:1 (T237) TDR: The Drama University and the Massachusetts Institute of Technology of Institute and the Massachusetts University York New

Opening this section, Kimberly Juanita Brown (“Erykah Badu’s Ambulatory Acts”) attunes us Acts”) attunes Ambulatory Kimberly Juanita Brown (“Erykah Badu’s Opening this section, without origin or an ur-text “breathing is reproduction’s ur-text,” as Cervenak suggests, If, signal how blackness chi- these short essays crucially individually or taken together, Taken Figure 1. (facing page) Erykah Badu in her music her in Badu Erykah page) (facing 1. Figure “The conjunction of reproduction and disappearance is performance’s condition of possibil- is performance’s condition and disappearance of reproduction “The conjunction conception of This (2003:5). writes Fred Moten of reproduction,” ontology and its mode its ity, owes an “anoriginal drive,” as performance’s what Moten describes or ontology, performance’s maternity that marks “improvised” and to an insurgent debt to black reproduction, (unpayable) and genesis capture, enclosure, fugitivity of black performance to and galvanizes the persistent and reconceive the performance of four short essays illuminate of the issue, In this section (28). across multiple medi- performance, or the fugitivity of this persistent this persistent fugitivity, whether read individually here, Each of the pieces and social practices. political histories, ums, black performance in ­ takes up the question of a roundtable, as around or in a round, While other contribu- black reproduction in relation to performance. to reproduction and/or short format of these entries the purposefully explore black performance, tions in this issue also and unexpected ways. resound with and against each other in interesting might allow them to certain similarities four short pieces, and yet across the , write together Our authors did not uncertain differences. sound and rebound with An Seat. Erykah Badu in her music video Window of singer-songwriter “ambulatory acts” to the embedded in repetition and “always already a reproduction, is Brown contends, ambulatory act, spectacu- “the virtuosic performances that attest to Through Badu’s simultaneous movement.” her (nude) Brown illuminates how Badu reproduces lar ordinariness of a black woman walking,” Similarly, that have constrained black mobility. body over and against the spatial restrictions Poetics’ of Some Performance”) ‘Airy Sarah Jane Cervenak (“‘BlackThe Night Is Falling’: (Englemann “airy poetics” that contours the “a particular and general ambulation” reflects upon with the analytic and collective practice of Working 2015) of blackness and black performance. Cervenak considers the atmo- Crawley (2016) has made newly available, T. Ashon breath that suffocating enclosures that seek to subject air’s wan- that escape the “black pneuma” spherics of derings to the violence of measure. the interrupted transmissions respectively, Jasmine Johnson and Paige McGinley trace, end, the reproduction of black performance brings to cri- and generational schisms through which that “casualties” to the Attending and genealogy. inheritance, sis dominant logics of movement, African dance, West in “through ongoing enactments of choreographic transference” fall away for death” “choreographic and loss, of failure, Johnson (“Casualties”) explores the possibilities Fannie McGinley (“Generational Schism, forging and reproducing diasporic communities. of Protest”) closes this roundtable with a reflection on cross- and the Future Lou Hamer, in a Asking how we might intervene “future of protest.” generational black struggle and the reproduction or refusal as the only two options for binarism that proclaims either generational “disruption of McGinley tracks practices of understanding the Black Lives Matter Movement, Gathered together in a room with students and the chrononormativity of activist discourse.” McGinley recalls how the poet community members days after the 2016 presidential election, in a cross-temporal Shields Redmond conjured the presence of Fannie Lou Hamer Treasure black reproduction “labor of performance that rendered the vibrational.” haptic, audible, asmatically constitutes and disfigures the very rubrics of performance and reproduction with which this issue has been concerned. Brown) Juanita Kimberly by (Screenshot section. this in Brown Juanita Kimberly by Acts” Ambulatory Introduction Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27September 2021

162 A Round Control), 2010. (Screenshot of Kimberly courtesy Juanita Brown) Seat,” by Erykah Badu. Directed performed by Coodie and Chike (Creative Figure 1. A black woman enters Dealey Plaza on foot. Music video for “Window intersection of critical race theory andvisual culture [email protected] ofcritical racetheory the Dark Room: and Race Visual Culture Studies Seminar, aworking group ofscholars invested inthe relation there. totheplantationspaceandwomenwhoexisted She isthefounderandconvener of Press, slavery’s 2015)examines thepresence profound ocularconstruction, andabsenceofseeingin Her book The Repeating Body: Slavery’s (DukeUniversity Visual Resonance inthe Contemporary Kimberly Juanita Brown Professor isAssistant ofEnglish andAfricanaStudies atMount Holyoke College. Moten, Fred. 2003. IntheBreak: The Aesthetics oftheBlack Radical Tradition. Minneapolis:Universityof Engelmann, Sasha. 2015. “Toward apoeticsofair:sequencingandsurfacingbreath.” Transactions ofthe Crawley, AshonT.2016. References andthe Massachusetts Institute of Technology TDR: TheDrama Review 62:1(T237) Spring 2018.©2018 avalanche ofmourning. A nativeofDallas, Texas, whereKennedy’sassassinationtookplace, John F. Kennedy’spublic, witnessed, andfilmedassassinationsenttheUnitedStatesintoan A blackwomanentersDealeyPlazaonfoot. The infamousDealeyPlaza, wherePresident The Remix history, memory, andmovementusingthereproductionofherbodyoverspace. Erykah Baduthinkswecan, andtothisendshepresentsuswithherartisticencroachmentupon we placeourbodiesagainstthetemporalityoferasure, theloopinginferenceofarchitecture? this glimpseandburrowintoit, holditagainsttheviolentimprintofpresentmoment?Can “glimpse offreedom” betweenslavery’sendanditsnot-yet-past(1997:120). Canweelongate nizant ofthevisualregistertantalizingpromiseSaidiyaHartmanrefersto, whatshecallsthe represent toothers. As ascholarofslaveryanditscontemporaryreverberations, Iamalsocog- I havebeenthinkinglatelyaboutthespaceblackwomenoccupyandoccupiedthey Kimberly JuanitaBrown Erykah Badu’s AmbulatoryActs Minnesota Press. Institute ofBritishGeographers 40, 3:430–44. doi:10.1111/tran.12084. University Press. Blackpentecostal Breath: The Aesthetics ofPossibility. NewYork:Fordham and the voyeur. between thewitness, thevictim, movement andtroublestheline Window Seatbindshistoryto act forher2010musicvideo Erykah Badu’sambulatory tethering topublicspace, and continues tobeimpactedbya digitized movement, blackness repeated andmobilizedforswift ingly unyieldingvisualarchive, very preciseways. Inaseem- ibility markingblackbodiesin and elongatethepatternsofvis- duction ofspacetoelucidate practices thatutilizetherepro- I wanttothinkaboutartistic A Round 163 Figure 2. Badu will be followed along her path by the man on the right side of of side right the on man the by path her along followed be will Badu 2. Figure performed Directed Badu. Erykah by “Windowfor video Seat,” Music frame. the courtesy Kimberly of (Screenshot 2010. Control), (Creative Chike and Coodie by Brown) Juanita Figure 3. The singer removes articles of clothing as she continues to walk. Music Music articles walk. to continues she as clothing of removes singer The 3. Figure and Coodie by performed Directed Badu. Erykah by “Windowfor video Seat,” Brown) Juanita courtesy Kimberly of (Screenshot 2010. Control), (Creative Chike - the vantage point of hypervisible black subjectivity enacted by pub- the vantage point of hypervisible black subjectivity but this is no ordinary black woman and this is no ordinary walk. this is no ordinary walk. but this is no ordinary black woman and — — As the radio 1 2

2010). (ErykahBaduVEVO video the from transcribed were lyrics video; YouTube the on based is Description (2013). Marcks Bill by posting YouTube the see KLIF from broadcast complete the For Window Seat has ocular con- Window 1. 2. broadcast plays we see Badu driving her vehicle into a park- The radio announcer ing spot. AM Dallas tells of from KLIF “jam-packed the procession line eager for the with spectators” the pres- “see” opportunity to ident as the vehicle carrying First Lady Jacqueline Kennedy, Governor Texas and Kennedy, John Connally and his wife Nellie moves through the down- town Dallas area.

A Seat at the Window A Seat at the The video begins with the sound of a radio recording from 22 the morning of November 1963, Kennedy’s visit to Dallas and his subsequent murder. notations rooted in both move- notations rooted in both In the video ment and proximity. and Badu demarcates movement of both proximity as the locus If we see progress and tragedy. Kennedy and Badu (through victims her re-articulation) as and cor tragedy, of progress, video out of its guerrilla-style pre- then this collective cadence brings the poreal modulations, on what it means to come into being through sentation and into a thickly threaded meditation “The literature on the political Thompson writes, A. Krista the reproduction of sight and site. Americans urban history confirms that black American African significance of public space in their unorthodox occupation of city environ- historically have redefined urban space through Badu’s slowed As unorthodox as any occupation of city space has ever been, (2007:26). ments” from her body is an opportunity to use this body as coming into being with each layer removed a collective force of will the spectacular ordinariness of Her purposeful saunter is an act of disambiguation, lic space. a black woman walking black people continue to nego- black people of bodily tiate the parameters bodily restrictions. mobility and dis- Seat enters this Window the singular pro- course with Erykah Badu’s paced duction of ambulatory engagement. Indeed, this is the emboldened engagement of one woman with multiple personas, genres of this is the emboldened engagement of one woman with multiple personas, Indeed, and multiple ways of seeing and being seen. artistic representation, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27September 2021

164 A Round (Screenshot of Kimberly courtesy Juanita Brown) by Erykah Badu. Directed by Coodie and Chike (Creative Control), 2010. Figure 4. Erykah Badu evolving. Music Seat,” video for “Window performed public-invisible” engagementof blackwitnessing, blackculturalproduction, and black­ across theblackdiaspora” (McKittrick 2006:52). Herpresencealsohighlightsthe “seeable-­ ages tohighlightwhatKatherine McKittrickcallsthe “see-able-public-invisible women, inand and publicspace(BaduPoyser 2010). Badu commandsacollectiveblack consciousnesstoemboldenherengagementwithinteriority tive callforrecognitionandadoration(“Ineedyourattention /Ineedsomeonetoclapforme”) for me.” Fromprivateinteriority(“Ineedyoutowantme/miss me”)toacollec- need youtomissme/Iyourattentionnext tome/Needsomeoneclap quently affordedblackpeopleinpublicspaces. “But,” shecontinues, “I needyoutowantme/ interiority, “Don’t wantnobodynexttome,” wehearapleaforthekindofsolitudetooinfre- ticket outtatown/alookaroundandsafetouchdown.” Intherenderedattempt atprivate center ofitscadenceandorder. “Don’t wantnobodynexttome,” Badusings. “I justwanta ful removal, sothatevolvingcanoccur. Itisasongthatplacesgenderedvulnerabilityatthe visual refrain. all oftheseartisticidentitiestobearonWindow Seatwiththepacedpropulsionofagrainy implications, African American witnessestotheeventhaveallbutdisappearedfromhistor 35th presidentoftheUnitedStates. Intheaftermathofeventanditscivilrightslegislative Badu’s walkingpathendsneartheprecisespotwhereasniper’sbulletendedlifeof claim space. Inherswiftbutpurposefulsauntering(sloweddowntomatchthesong’stempo), cal career, Window Seatoffersusthesite-specific, black-womanarticulationofwhatitmeansto neous movement. Though notthemostexceptionalvisualactinalongandmusi- is thefirsttimeweareabletoseewordwrittenacrossherback:EVOLVING. ing offthehoodieandrunningforabit, Baducrossesthestreetwhiletakingoffhershirt. This Badu asshewalksalongtheroute, pickinguptheclothesshediscardsalongway. After tak- and theotherwearingaredbaseballcapjacket. The latterwillcontinuetofollow for abit. Two maleobserversareontherightsideofframe pocket. The singernextremovesherovercoat, herright, thenleftshoebeforejoggingforward neath adarkovercoat, Badufirstremoveshersunglassesinthevideo, placingtheminhercoat A blackwoman’snakednessencroaches onapublicspaceofhistoricalimportandman- “Window Seat” thesongisameditationonmechanismsoflayeringthatnecessitatecare- An ambulatoryactisalwaysalreadyareproduction, embeddedinrepetitionandsimulta- Adorned withhertrademarkclusteroflargerings, sunglasses, andapurplehoodieunder — extraordinaire. Shebrings actress, comedian, andtweeter writer, dancer, rapper, DJ, poet, (2013:1). Sheisasinger, song- of thevisualisherpractice asserts, butforBadu, theworld is amethod,” ShanaRedmond sphere withthiswork. “Music Badu bringstothevisual ble tolosesomeofthepotency video performance, itispossi- framing, andthemodeofthis Americans presentfortheevent. view ofthehundreds African procession, veryfewincludea assembled alongtherouteof of thephotographscrowds ical archive. Inthereproduction one inalight-coloredshirt Because ofthetiming, the women’s - - A Round 165 3 journalists as “a “a as journalists News Daily (Return of the Ankh). (Return of the Figure 5. Badu approaches the end of the procession route, near the grassy knoll knoll grassy the near route, procession the of end the approaches Badu 5. Figure performed Erykah by “Windowfor video Seat,” Music shot. was Kennedy where (Screenshot 2010. Control), (Creative Chike and Coodie by Directed Badu. Brown) Juanita courtesyKimberly of ‘LESSONS LEARNED’ (OFFICIAL VIDEO).” Music video. video. Music VIDEO).” ‘LESSONS LEARNED’ (OFFICIAL — -

Window Seat from the Matt Window public striptease” that cost the singer $500 in misdemeanor fines.) (Boyle and Roberts 2010). and (Boyle fines.) misdemeanor in $500 singer the cost that striptease” public It was the reproduction of the video that was used as evidence to charge Badu. According to Christina Boyle and and Boyle Christina to According Badu. charge to evidence as used was that video the of reproduction the was It countrythe across people from calls com- received have they said spokesman police Dallas “A Roberts Soraya York New two the by described is “behavior” (This behavior.” Badu’s about plaining At the intersection of history and visibility, a black female artist claims space within a space At the intersection of history and visibility, cognizant of her presumed periph- of history, A black woman places her body in the center “If architecture can be seen “If architecture can be of performative visibility so that Seat compels the viewer to slow down the tempo Window Directed by Otto Arsenault and Taylor Cohen. Vimeo, 21 April. Accessed 29 October 2017. https:// Accessed 29 October 2017. April. 21 Vimeo, Cohen. Taylor Arsenault and Directed by Otto vimeo.com/4266613. Universal Motown Records. 3. of national importance, a place that is also home for her. By doing so, she not only reconfig- so, By doing a place that is also home for her. of national importance, but saunters forth through a city’s quiet refusal ures her own creative and musical trajectory, its body, Badu’s efforts to utilize her nude to negotiate the parameters of race and citizenship. hometown in order to illuminate the geographical specificity of her motions and progressions, and public space. memory, are in the service of history, so she highlights the quiet cloaking of nation over In doing She wants you to look. eral status. and gender over geography and space. race,

References “Matt and Kim 2009. Otto. Arsenault, as an ally in inhabitation,” Anne as an ally in inhabitation,” “it also points Cheng writes, both acts of inhabiting and connecting ourselves, to the profound challenges inhering in the Erykah Badu’s solo inhabitation of Dallas draws (2011:98). to places and to our own bodies” against the courageous presentation of corporeality together the act of seeing and being seen, and the artist’s own imagistic and musical evolution. architecture, is why Badu’s video functions I believe, This, of order. the viewer and the viewed find a balance quite differently than Matt and Kim’s Lessons Learned (though both women are killed at the end pro- Seat the video for Window Award, Video Instead of an MTV Breakthrough of the videos). the evidence to charge Badu with disorderly conduct. vided the Dallas Police Department with and Kim video Lessons Learned. won the which In that video, 2009 MTV Breakthrough the award, Year of the Video off indie duo take the mid- all of their clothes in Square Times York’s dle of New (Arsenault 2009). veillance apparatus that attends that attends veillance apparatus public engage- black women’s well as the repeti- as ments, located tion of misrecognition inspiration Badu takes her there, for artistic practices. Knowing much Knowing much artistic practices. sur about the hypervisualized Two New Amerykah Part Seat.” “Window 2010. and James Poyser. Erykah, Badu, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27September 2021

166 A Round pool, the/ground’smirrorandpicksupskyagain” (1995:82–83). the laststanza: “Black withtheroads’dusts/atmosphere, solid, ontheground/turnsintoa ers oftheatlantic/grindingashorecapturedintoplantations’whiteglacialfield.” Andin of waterintosky: “the verdanttropicalmists’drip/tearsgatheringintothecoldbloodyriv- In hispoem, “Properties,” EdRobersonoffersahistoryoftheworldtoldthroughjourney Sarah JaneCervenak The “AiryPoetics”ofSomePerformance “Black NightIsFalling” Thompson, Krista A. 2007. “Performing Visibility: FreaknicandtheSpatialPoliticsofSexuality, Race, and Redmond, ShanaL. 2013. Anthem:SocialMovements andtheSoundofSolidarityin African Diaspora. New McKittrick, Katherine. 2006. DemonicGrounds:Black Women andtheCartographies. ofStruggle Minneapolis: Marcks, Bill. 2013. “JFK Assassination 50th Anniversary; Kennedy Assassination Hartman, Saidiya V. 1997. ScenesofSubjection: Terror, Slavery, andSelf-MakinginNineteenthCentury America. ErykahBaduVEVO Cheng, AnneAnlin.2011. Boyle, Christina, andSorayaRoberts. 2010. “Erykah Baduchargedwith disorderlyconductforstrippingin New York University andthe Massachusetts Institute of Technology TDR: TheDrama Review 62:1(T237) Spring 2018.©2018 Press, 2014)[email protected] author of She andvisualarts. isthe the blackradical,feministpotential ofgatheringinpost-1970sblackliterary Greensboro. Her current bookproject, tentatively titled“Black Gathering: Arts ofUngiven Life” queries and AfricanAmerican andAfricanDiasporaStudies programs attheUniversity ofNorth Carolina, Sarah Jane Professor, isAssociate Cervenak jointly appointedinthe Women’s andGender Studies thieved orprivatelyshedtearmovesthestreamthatburstsfrom thefrozenwallintoair. flesh, fleshintofield. flesh andsoil. Anecohistoryofthemiddlepassage, withwhitenessglacializingeveryfieldinto devastating courseofantiblackness, fromthebreaking of lifetothebreakingcurrent. Stolen The “bloody” Atlantic alongwiththe “glacial” devastationwroughtbytheplantationtraces 1. Even still, theparticularisundercutbyderegulated movementofthegeneral; The movementofmist, water’sbecomingairbespeaksaparticularandgeneralambulation. Rain. Tear. River. Ice. Stream. Sky. Class in Atlanta.”Class York:New York University of _bc8. 10/22/1963.” YouTube, 17November. Accessed 9January2017. www..com/watch?v=0I5T7cK Oxford: Oxford www.youtube.com/watch?v=9hVp47f5YZg. University Press. news.com/entertainment/gossip/1.163062. Dallas videoshootfor ‘Window Seat.’” DailyNews, 4 April. Accessed 29October2017. www.nydaily Engelmann (2015). Stefano Harney’s meditations on black study (2013:19); “airy poetics” is a concept developed by Sasha Regarding the two quotes in the title of this essay: “Black Night Is falling” appears in Fred Moten and Wandering: Philosophical Performances ofRacialandSexual Freedom (DukeUniversity Minnesota Press. . 2010. Badu Erykah University Press. University Press. TDR 51, 4(T196):24–46. Second Skin:Josephine Baker Surface. andtheModern NewYork:Oxford — Window Seat. YouTube, 2 April 2010. Accessed 15January2017. 1 — KLIF-AM Dallas A Round 167 - indexes — Whiteness, we might say, we might say, Whiteness, 3 for example, Stokes’s insertion of “vocables [what Crawley also “vocables Stokes’s insertion of for example, — Following Choy and Crawley, air’s reproductivity is larger than air’s reproductivity Following Choy and Crawley, 2

See Crawley’s beautiful discussion of Stokes and Clarke-Cole’s airy innovations (2016:43–47). airy innovations Clarke-Cole’s and Stokes of discussion beautiful Crawley’s See (2016:63–85). emphysema” important“racial calls he what and lynching on discussion Crawley’s See This is complicated; both blackness and air have been, as Crawley instructively documents, as Crawley instructively documents, This is complicated; both blackness and air have been, In some ways, Roberson’s attention to the complex, atmospheric harboring of such “scenes “scenes of such atmospheric harboring to the complex, Roberson’s attention In some ways, A pneumatic commons. A postaquatic commons. common. live within air is to be in To “antiblackness is anti- most acutely Fred Moten’s assertion that concede this elaborates To And what the thing about breath is that it manages somehow to stay around. Even still, recent work Blackpentecostal Ashon Crawley’s deeply brilliant and beautiful The Breath: 2. 3. the individualized performances of inhalation and exhalation. We might say it unmoors repro- We and exhalation. the individualized performances of inhalation what takes, we do not know the shape one’s exhalation In other words, duction from teleology. to blossom, the path it follows from ocean to tear and who are its expressions and conditions, Kameron Carter and I (2016) J. first wail of another. from one dying woman’s last breath to the relation between blackness and ether (airy mat- have considered whether there’s a metonymic brute has brutally consigned blackness to air’s opposite, even as the project of modernity ters), Forgotten ocean. ground (see Battersby 2007). ­materiality...trespassable threatening a set of enclo- air’s mythic purity, Blackness is said to endanger counterposed. sures ranging from white fences to white heteronormative families.

of subjection” (Hartman 1997) offers another modality of thought that, following Timothy Timothy following of thought that, offers another modality (Hartman 1997) of subjection” of our many of air and the density “materiality with the contends work, Choy’s important I wonder how and Choy, Roberson With (2011:145). in airy matters” human entanglements something about this ques- water’s after/life elucidates airy entanglements, such attention to the performance and does so by poeti- and reproduction, of blackness, tion around the intersections only the sky can decipher. cizing an answer that and carbon dioxide hydrogen, practice; the interplay between oxygen, Respiration is a choral We might say and cells together. flesh, trees, reproductive fates of oceans, complexly threads the ur-text. breathing is reproduction’s as antilife moves from the ter The long history of antiblackness 2015). (Kelley and Moten life” to the ongoing (extra) legalized to antireproductive eugenics projects roristic middle passage which deeply bespeaks a mythic investment in breath’s killing of black people by the state; all of tragically reveals terribly, “I can’t breathe,” Eric Garner’s last words, particular privatization. personhood will go in expunging blackness (once again) the lengths whiteness and propertied they control. from a commons they mythically imagine wandering past “human,” beyond the telos of the “drifts” air as Choy (2011) writes, is more, “biocentric” calls Wynter with what Sylvia the notion of life itself as beginning and ending man (2003:267). earthly move- para-ambulatory, speaks precisely to the perambulatory, Aesthetics of Possibility black Pentecostal His engagement with breath (2016:38). enfleshed “black pneuma,” ments of Stokes’s airy animation of an improvised syllable preachers Dorinda Clark-Cole and Juandolyn at the end of particular words ‘tuh’” at the end of each line of a sermon and ‘hah’ ‘impure appendages’] such as calls air and the way air’s very performativity cuts against both the always-more-than-one quality of that terribly sustain whiteness’s suffocat- the failed performatives, the various interdictions, earth-killing animation. ing, The stars bear witness to the ethereal portrait engendered from that movement, all the while all the while from that movement, portrait engendered witness to the ethereal The stars bear that illuminate passage. as the celestial miracles glistening creates a climate of antiblack suffocation, even as it presumes atmospheric reach. There is an even as it presumes atmospheric reach. creates a climate of antiblack suffocation, since the between climate and atmosphere; that is, one important distinction to make here, has been said to be empirically assessable and as such scientifically “climate” Enlightenment, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27September 2021

168 A Round

spheric tendencies. A straightenedoutfigurationofwhatsurrounds. knowable; plainlystated, climateisdefinedastheexperienceandsubsequentaveragingofatmo-

beyond theendofworld. dying bespeaksblacknessandreproduction’sdramaticundisclosedunfoldingsomewhere death, orevenbeyondthatandmoretragically, theinsistentlastexhalationofonewholay with sunlight, mist, andtree, theofferingmadebyonewhobreatheswildlyinfaceof rose willbendacertainway, oceanswillbeharboredinprayer. This quiltedpneumathreaded ally imbuedandgiftedfromthelungsofvisionarypreachers? of performance-in-the-world;itswandering. What oceansmovedinthataddedsyllableethere- a kindofmythicallyhyped-upandwaywardreproductivity. Tears tosky. enclose andcontroltheatmosphere, whichisalso to sayblackness, is oftenanimated by afearof text the “world.” any arbitraryenclosuressuggestedbybody, border, self, matter. Roamingsbeyondtheendof out doors, oceanswithoutclaim, passagewithoutdestination, companionshipsthatunsettle ness arealwaysalreadyanxietiesaboutblackness. Unheldflesh, earthwithouttitle, homeswith- water, flesh, mist, andsky. Inthatway, anxieties abouttheatmosphere’sinherentwayward- endures asnonteleologicaldestinationandextra-fleshlylife. Afugitivechoreographybetween cally/racially/pseudoscientifically astheconjuredin/abilitytobreathe “free” air (2016:111). obsession withafictionalizedBlackpneumaticin/capacitythatinturnperverselyfiguredjuridi- a whitenationalistobsessionwiththeweatherwasnevernot, followingChristinaSharpe, an from concernsaboutthefraudulentprecarityof America asa “pure,” white, settlerstate. in turnanimatedan American presidentialobsessionwithitsparticularrecording, wasneverfar 6. 5. 4. its independence. Thomas Jefferson, in his bythat the climate was being changed was taken the to settler heart population as the United States claimed and linear space time) in relation to a black feminist poethics. Denise Ferreira da Silva (2014) thinks blackness’s movement beyond “the end of the world” (of category, climate, Here the notion of breathing wildly is inspired by Jean-Luc Nancy’s (1987) notion of wild laughter. So too, in orderlonged observations ‘to show the effect of (2007:197). clearing and culture towards changes of climate’” even of the middle aged.’ Late in his life, he called for a national network to compile pro of weather- observers research among the settler population that ‘both heats and colds are become much moderate within the memory There issomethingandsomeonethatwillbreathe, orinhale. Lungswillpressinandout, a And sotoo, wemightsay, thisantireproductivityisafearofthenonteleologicalmovement Blackness asenfleshederrancy, justlikeatmosphere, historicallyfiguresasreproduction’s ur- Beyond thespace/timeofstate’sasthmaticdeprivationsandinterruptions, breath even still, airdrifts. Still Moreover, it’sterriblyinstructivethattheEnlightenmentpreoccupationwithweather, which Any talkaboutclimateoftenpresumesthenonerrancyofair. In her book ning” (2013:17). surround antagonises the laager in its midst while disturbing that facts on the ground with some outlaw plan- is besieged by what still surrounds it, the common beyond and beneath tique of militarised life is predicated on the forgetting of the life that surrounds it. The fort really was surrounded, these movies, but the image of is a not surroundedfalse. Instead, fort the false image is what emerges when a cri- aggressor so that colonialism is made to look like self-defense. Indeed, aggression and self-defense are reversed in or Moten and Stefano Harney’s argumentation on the surround: “In films like unavailabilityI am interested of the surround, as it extends in fromthe epistemological and disciplinary Fred — Shaka Zulu (1987), the as settler surroundedis portrayed by ‘natives,’ in Parenti’s inverting, view, the role of a makingoflifewithoutend. This ispreciselyandgrosslywhywhiteness’sattemptsto British Culture and The Climate of Enlightenment 6

Notes on the State of Virginia Jan Golinski writes: “In America itself, the belief — (1787), reported as a result of his own before and before Drums AlongDrums the Mohawk (1939) 4 — enclosure. The 5 Where A Round 169 and here I — , Gawker Aster(ix), Center for Black Studies Studies the Center for Black and

however robust, thin, or fleeting. thin, however robust, — https://vimeo Accessed 15 March 2015. TDR: The Drama Review 62:1 (T237) Spring 2018. ©2018 Review 62:1 (T237) TDR: The Drama New York University and the Massachusetts Institute of Technology of Institute and the Massachusetts University York New 3, 3:257–337. The New Centennial Review 3, CR: Argument.” An — arrive with assumptions in tow. In addition to tutoring the body, In addition to tutoring the body, arrive with assumptions in tow. — New York: Fordham New York: Possibility. Aesthetics of The Breath: Blackpentecostal Durham, NC: Durham, in Hong Kong. of Endangerment An Ethnography Ecologies of Comparison: , Journal An International Diaspora: and Black Africa

Hydrogen. Oxygen. Carbon dioxide. The aquatic-pneumatic reach of black song becomes a of black song becomes reach The aquatic-pneumatic dioxide. Carbon Oxygen. Hydrogen. 2:203–24. .com/116111740. Its Overrepresentation After Man, Press. University Press. 2:81–97. 44, Scholar The Black World.” the End of the doi: 10.1111/tran.12084. 3:430–44. 40, Institute of British Geographers Minor Compositions. Oxford: Oxford University Press. 6 January. Vimeo, Critical Resistance, in Conversation.” floral blossom uprooting the fence. Air’s reproductivity is the ur-text of the earth. Its blackness Its of the earth. is the ur-text Air’s reproductivity uprooting the fence. floral blossom forming the unlocatable respiration undisclosed performers, the damp air of forged through impossible themselves. possible and A guiding philosophy of any dance class is to reproduce: reproduce an instructor’s choreogra- A guiding philosophy of any dance class is to reproduce: reproduce an instructor’s in we dancers pay, In a class, reproduce a social order. reproduce an obedience to rhythm, phy, Dancers arrive with an intention to encounter the limits of their for an occasion to mime. part, Dancers own body and to train that physical mass toward a new iteration of itself. Casualties Jasmine Elizabeth Johnson am directing my attention to those who deliberately show up to a dance class ready to pay a fee am directing my attention to those who deliberately show up to a dance class ready for an embodied experience to attend a dance class is to traffic in community building Jasmine Elizabeth Johnson is Assistant Professor of Theater Arts and Performance Studies at Brown Brown Studies at Performance Arts and of Theater is Assistant Professor Johnson Elizabeth Jasmine and including dance, diasporic travel, examines work the politics of black movement Her University. , Journal Research has been published in Dance work Johnson’s gentrification. References Routledge. London: . and Human Difference Terror The Sublime, 2007. Christine. Battersby, Review 16, The New Centennial CR: “Black Ether.” 2016. Jane Cervenak. and Sarah Kameron, J. Carter, 2011. Timothy. Choy, 4:719–36. 102, Notes Modern Language Throat of Death.” Laughter in the “Wild 1987. Jean-Luc. Nancy, Iowa City: Press. Us In. Talk to Cast Out Voices 1995. Ed. Roberson, NC: Duke University Press. Durham, and Being. On Blackness Wake: In the 2016. Christina. Sharpe, the Human, Towards the Coloniality of Being/Power/Truth/Freedom: “Unsettling 2003. Sylvia. Wynter, Colorlines, Crawley, Ashon T. 2016. 2016. Ashon T. Crawley, Toward The Quest(ion) of Blackness Poethics: a Black Feminist “Toward 2014. Ferreira. Denise da Silva, of the Transactions and surfacing breath.” a poetics of air: sequencing “Toward 2015. Sasha. Engelmann, Chicago: University of Chicago Press. and the Climate of Enlightenment. Weather British 2007. Jan. Golinski, New York: Study. Planning & Black The Undercommons: Fugitive 2013. and Fred Moten. Stefano, Harney, America. in Nineteenth-Century and Self-Making Slavery, Terror, Scenes of Subjection: 1997. V. , Kelley and Fred Moten “Do Black Lives Matter?: Robin D.G. 2015. and Fred Moten. D.G., Robin Kelley, Rhythm Nation: West African Dance and and Dance African West Rhythm Nation: Press), University forthcoming book (Oxford . Her Research African dance. jasmine_ West , is a transnational ethnography on the industry of Diaspora of the Politics [email protected] Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27September 2021

170 A Round rather thanembodiedvictories. Itrespectswhatcanbegainedintermsofcommunityforma - the makingofablackdiasporic dancespaceasrenderedbyanumberofchoreographicdeaths bal “utterances” thatgettaught, translated, andremixedthroughdancepedagogy. Italsoreveals fer betweenbodies. A casualties frameworkhelpstheoreticiansofdiasporatochartthe nonver they circulatetransnationally, transform, andundergochoreographiccasualties astheytrans- a usefulframeworkthroughwhichtoconsider West African choreographies themselves African diasporicdancepoliticsthatmovesbeyonditscapacity torepairracialinjury. Itprovides choreographic transference. it mightalsoserveustoturnourattentionwhatfallsaway through ongoingenactmentsof sexual freedom. sometimes treatedthedancepracticeasaspaceshiplaunching towardracialtranscendenceand as beginningwiththeinstitutionofslavery. Non-black West African danceparticipantshave tive identitypoliticsdirectlychallengedanti-blackhistoriesthat positioned African Americans pora, sometimesthroughmonetaryexchange. Forblack Americans, thismodeofrecupera- is ameansthroughwhichpeople(blackandnot)pursueconnectiontothe African dias- diasporic peopleanditscapacitytosuturedifference(seeDaniel2005; Welsh 1998). Dance reproducing racialandgendereddifference. can assistscholarsofblackdiasporicdanceinmappingtheforce West African movementin diaspora the African (see Scott1997). students. One’ssocialcontextinfluencesthetermswithwhichadancer’smovementismeasured one canchasetherhythmandstillprovokepatience, ifnotthetutoring, oftheadvanced dancer makestheskilledappearcleaner. A closepublicrelationshipwithateachermeansthat sign, orabandonapastversionofthemselves;eachonematterstothespace. The less-rhythmic classes aremomentsofcontention, ofidentityslicing, andofpolicing. All dancersshed, rede- ied information, oneisalsoreproducingan African diasporicsocialorder. West African dance lag,” or “interval” tion isactivatedevenwhenfewwordsareuttered. Translated asa “gap,” “discrepancy,” “time incommensurable, andperformativelyconstructed. Thus décalageprovidesanoccasiontoregard African diasporiccommunitiesasheterogeneous, both StuartHallandEdwards, décalageexplainstheambivalentnatureoflinguistictranslation. capture thefundamentalityofdifferenceinmakingdiaspora(2001:65). According to the water[...,]anunidentifiablepointthatisincessantlytouchedandfingeredpressed” not betransferredorexchanged, thereceivedbiasesthatrefusetopassoverwhenonecrosses Further, EdwardsmobilizestheFrenchworddécalage Hayes Edwardswrites: Hartman 2007;Nelson2011). Analyzing diasporathroughtheframeworkofarticulation, Brent Applying thelogicofdécalage While scholarshaveattendedtothenotionoftransmissionas centraltotheactofteaching, Scholarship on West African dancehastendedtofocusonitshealingpropertiesfor African Scholars of African diasporastudieshavetheorizedasbothanounandverb; If oneistheretoreproduceachoreographyorexperiencethetransmissionofembod- Dance classesarealsoasumoflosses. While décalagehasbeenhistoricallyappliedtothelogocentric, thistheoryof(mis)transla- the boundariesoflanguage, class, gender, sexuality, religion, thenation-state. (2001:64) haps, of what resists translation or what sometimes cannot help refusing translation across difference If adiscourseofdiasporaarticulatesdifference, thenonemustconsiderthestatusofthat — not justlinguisticdifferencebut, morebroadly, thetraceorresidue, per

— “décalage” rubsupagainstarelatedterm:casualties. Readingforcasualties exists anditisinaconstantstateofenactment to West African dancepracticeexposesaconfigurationof — “the kernelofpreciselythatwhichcan- (Edwards 2001;Hall1996; — how

— - to - A Round 171 - - is what dem- — rather than privileg- — 19, 1 (66):45–73. 19, Social Text Social Text rather than offering zeal in lieu of an effort — Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Yoruba, Cuban Vodou, in Haitian Embodied Knowledge Wisdom: Dancing

, edited by Jane C. Desmond, 259–68. Durham, NC: Durham, 259–68. Desmond, edited by Jane C. Studies of Dance, Meaning in Motion: New Cultural

. Chicago: University of Illinois Press. Chicago: University of Illinois Press. Candomblé. Chicago: University of 210–22. Lindeborg, and Ruth H. Diawara, Manthia Baker Jr., A. by Houston Chicago Press. and Giroux. Miller, edited by Marianne Hirsch and Nancy K. of Memory, and the Politics Poetics of Return: Diaspora Columbia University Press. York: New 23–39. In Duke University Press. Inc. Press, World West African dance classes are pulled between two poles of failure: doing “too much” or much” “too of failure: doing between two poles dance classes are pulled African West but what if we trained our there is an ambition toward reproduction, African dance West In our resembles the instructor’s, our embodiment of the choreography No matter how closely Focusing on what is lost in translation is not to say there is no cohesion, community, or fam- community, not to say there is no cohesion, Focusing on what is lost in translation is References 2005. Yvonne. Daniel, .” Uses of Diaspora “The 2001. Brent Hayes. Edwards, edited Studies, British Cultural In Black Cinematic Representation.” “Cultural Identity and 1996. Stuart. Hall, Straus Farrar, York: Route. New Atlantic Slave Along the A Journey Mother: Your Lose 2007. Saidiya. Hartman, In Rites The Social Sources of Genetic Genealogy.” “The Factness of Diaspora: 2011. Alondra. Nelson, Don’t Force It.” If It Don’t Fit, “Spectacle and Dancing Bodies that Matter: Or, 1997. Anna Beatrice. Scott, NJ: Africa Trenton, and Philosophical Inquiry. Historical, Artistic, An African Dance: 1998. Kariamu. Welsh, doing “too little.” While the body accumulates information through a dance class, it also for class, through a dance accumulates information While the body little.” “too doing the cho- is to train toward principle of a class If an organizing and misarticulates. missteps, gets, becoming in a constant state of then a dancer is the teacher, and physical affect of reography Of course, knowledge. dance form by jettisoning previous embodied more principled in the and capitalism here: it is the stu- between choreographic casualties there is a direct connection to more firmly belong to that particular or to replicate the instructor, dent’s desire to want paying to return. that fuels their space, no mat- know that replication, well We rather than what echoes? falls away, eyes to look at what differ “original” is wearing that That other body quite the thing itself. is never ter how close, This gathering too. is growing, a perfect replica of the teacher; the teacher One is never ently. make a dance class. and vanishing are what with our own bodies that we have mastered the power is in our difference: the ability to utter rhythm enough to add flair to it tion precisely through loss. This failure is not depressing, nor does it undermine the potential undermine the potential nor does it failure is not depressing, This through loss. tion precisely are the cohesion. The losses diaspora. making of onstrates true mastery of the choreography at hand. Whether or not one is chasing or riding a at hand. onstrates true mastery of the choreography what we share is our difference in pursuit of it. rhythm, is where the body it is to say that the proof of diaspora Rather, ily formation being constituted. They merely force Choreographic casualties are not bleak. or does extra. does differently, fails, and sonic precision skill, us to reason with the importance of technique, (While African dance classes. West too often dominate and healing that enthusiasm, ing effort, this when accu- we can only accomplish dance our own, ought to make the of course, we each, fact of cannot afford to skip over the We to riff.) mulating enough of a foundation upon which and of capi- Africanness that masks the operations of technique, craft in lieu of an approach to African dance. West which cofunction to reproduce talism, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27September 2021

172 A Round Paige A.McGinley and theFutureofProtest Generational Schism,FannieLouHamer, New York University andthe Massachusetts Institute of Technology TDR: TheDrama Review 62:1(T237) Spring 2018.©2018 blackfreedom [email protected] struggle. inthemid-century determination Law,examination of 1932–1968,thefirstin-depth rehearsals fornonviolent direct actionandself- Washington University inSt. Louis.She iscurrently completingRehearsing Civil Rights:Practicing the Paige A.McGinleyProfessor isAssociate ofPerforming Arts andAmerican Culture Studies at ing, performance, andprotestduringthecivilrights movement, bylookingtothepast. Implicit been invitedtoreflecton “TheFutureofProtest” of acampusbuilding. Along withpoet, scholar, andeducator Treasure ShieldsRedmond, Ihad uate studentsandafewfacultystaffgatheredinsmallconference roominthebasement These werenottheconditionsIhadagreedto. On10 November 2016, acoupledozengrad- A. a goodideawhenihearone. never metkarlmarx, butiknow one littlewomantalkn, willraisecain. with bigwords:marxist, social, exprmnt. just free, land, free, medicne. theypushback make bigtrouble. iusesimplewords: the wordsaythislittletonguecan little member

— presumably, givenmyresearchontrain-

— Treasure Shields Redmond (2015:33)

A Round 173 have — invite anything — and to draw a con- — between older and younger activists. activists. younger and older between — has been upheld as the only acceptable model has been upheld as the — outspoken, understanding, and willing to catch and willing understanding, outspoken, — and alliances and as I had faced my students earlier that day and the day that day and the day my students earlier as I had faced Is there another way? — 2 — even expressed as generational schism even expressed as generational — (2016) for its incisive account of the the of account incisive its for (2016) Liberation Black to #BlackLivesMatter From from those in leadership roles to those who made sandwiches from those in leadership roles to those who — often simplistically understood — Between the World and Me: “it World the eloquently expresses this ethos in Between Coates Ta-Nehisi 1

conscious of the generation gap between us. These were not the conditions that we were not the conditions These between us. of the generation gap conscious —

But can the generational model But can the generational See Keeanga-Yamahtta Taylor’s Taylor’s See Keeanga-Yamahtta rise of Black Lives Matter and the strugglesthe and Matter Lives Black of rise Focusing on “daddies” and “grandfathers” allows Tef Poe, Ford, Cobb, and others to high- Cobb, Ford, Poe, Tef allows “grandfathers” and “daddies” Focusing on By November 2016, “not your grandfather’s civil rights movement” had become a shorthand had become a shorthand rights movement” grandfather’s civil “not your 2016, By November erations” in intellectual history, which “superimpose[s] assumptions about property, propriety, and precedence precedence and propriety, property, about assumptions “superimpose[s] which history, intellectual in erations” their reproduce remembering so in and mothers their remember offspring feminism’s that ensure to attempt that (1997:71). appropriately” mothers their honoring while gains, mothers’ 1. - Roof’s “gen feminist to applied been has it model as generational the of critique Judith from here cue a take I 2. other than reproduction or its refusal? other than reproduction seemed that the month [of February] could not pass without a series of films dedicated to the [of February] could not pass without a seemed that the month (2015:32). on camera” glories of being beaten Figure 1. (facing page) In this 17 September 1965 file photo, Fannie Lou Hamer of Ruleville, Mississippi, Mississippi, Ruleville, of Hamer Lou Fannie photo, file 1965 September 17 this In page) (facing 1. Figure the after Washington in sympathizers Capitol the outside Party Democratic Freedom Mississippi to speaks Congressional Mississippi the of the seating to challenge legal party’s the rejected Representatives of House (Photo election. 1964 the in voting from prevented were Mississippians black that grounds the on delegation, File) Smith, J. Photo/William AP by

trast with the patriarchal leadership that characterized the civil rights movement. But while characterized the civil rights movement. trast with the patriarchal leadership that the con- of the mid-century struggle were men, there is no doubt that the most visible leaders tributions of women 2012; McGuire 2011; Ransby 2003). et al. (Holsaert, been chronicled in detail in recent years (those contemporary mothers of young men Decades before the Mothers of the Movement Nonviolent Coordinating Committee (SNCC) and women killed by police) were what Student ‘mamas’ were usu- “the of the civil rights struggle: “the mamas” member Charles Sherrod called ally the militant women in the community (in Lee 1999:xii). having already caught their share” hell, light the leadership of young women at the forefront of today’s struggle light the leadership of young women at the Somewhere along the way, we lost the mothers. The first public utterance of this generational mothers. we lost the Somewhere along the way, Louis civil rights movement is traceable to the St. schism between Black Lives Matter and the - “this ain’t your daddy’s civil rights move who exclaimed Poe (Kareem Jackson), Tef rapper Louis in St. and civil rights elders community leaders, at a gathering of young people, ment!” demon- just two months after the murder of Mike Brown and the massive in October 2014, “this ain’t your grandfather’s Glen Ford proclaimed strations that followed (superbrotha 2014). the phrase in in a blog post in November 2015; Jelani Cobb picked up civil rights movement” a few months later (Ford 2015; Cobb 2016). his profile of movement leaders in The New Yorker B. before to. had agreed and as praise by the movement’s supporters, deployed as both Lives Matter, description of Black new structure of BLM, Pointing to the decentralized organizational criticism by its detractors. “not your and mass incarceration, and a focus on police brutality media, tactics enabled by social fatigue with the ways that also suggests young people’s movement” grandfather’s civil rights nonviolence in the prompt issued months earlier was a circumstance that had not come to pass: what would to pass: what would that had not come was a circumstance issued months earlier in the prompt during a Hillary justice movements and affiliated social of Black Lives Matter be the future room I faced the Clinton presidency? for dissent.

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174 A Round Redmond rosetoherfullheightandcommencedread choose fromthefamiliarmenuofhandwringingandoutragethatcharacterizedthoseearlydays, And sowe’rebacktotheconferenceroom, taskedwiththefutureofprotest. Ratherthan C. Holsaert, FaithS., et al., eds. 2012. HandsontheFreedom Plow:Personal Accounts by Women inSNCC. Ford, Glen. 2015. “This Ain’t Your Grandfather’sCivilRightsMovement,” 12November. Accessed Cobb, Jelani. 2016. “The MatterofBlackLives.”New Yorker The , Coates, Ta-Nehisi.2015. References labor ofblackreproduction simply becauseshewasbornblackandpoorintheJimCrowSouth. day), Hamerexperiencedcrueltiesandindignitiesasaconsequenceofheradvocacy Known forherphysicalstrength(shewasrenownedpickinghundredsofpoundscottona of theMississippiFreedomDemocraticPartyat1964NationalConvention. vote wereindispensableassheworkedafieldsecretaryforSNCC, andservedasadelegate powerful oratory, door-to-door canvassing, citizenshippedagogy, andfearlessadvocacyforthe as oneofthemostsignificantgrassrootsleadersMississippimovementin1960s. Her women oftheruralJimCrowSouth. of thelifeFannieLouHamer rules ofthekwansabaform:sevenlines, withsevenwordsperline. Together, they tracethearc entitled someone tostandwith, tohearfrom “just onelittlewoman, talkn.” nonormativity ofactivistdiscourse. BringingHamerto usnotasagrandmother, exactly, butas either nostalgiccelebrationorOedipalrejectionofone’selders, butasadisruptionofthechro- political transformationnotsolelythroughanormativechronology ofgenerationthatdemands terfactual generation, bringingtheimaginedvoiceofHamer intotheroom, Redmondstages come tobe. electoral rightforwhichshefought, voting “for thembabies,” agenerationthatcouldnever state respond tothebiopoliticalpowerofmedicalestablishment described theprocedureasa “Mississippi appendectomy.” Inthepoem, RedmondhasHamer involuntary sterilizationswerewidespread, aprevalenceHameracknowledgedwhenshe As thepoemsuggests, Hamerwasgivenahysterectomywithoutherconsentin1961. Such And hereisRedmond, herselfablackwomanbornandraisedinMississippi, makingthe Hamer, asharecropperandtheyoungestof20childrenfromRuleville, Mississippi, emerged Champaign: UniversityofIllinois Press. 2017.2 November https://www.blackagendareport.com/not_your_grandfather%27s_movement. www.newyorker.com/magazine/2016/03/14/where-is-black-lives-matter-headed. What isthefutureofprotest? And whatisitsrelationshiptothepast? Conjuringthatcoun- babies thatwon’tneverstandinline. (Redmond2015:11) he say. ivotesforthembabies. you don’t bebothered witheve’s curse, auntie, we just gone make itso i was44. toldthatdoctor34. kick nodogthatain’tbark’nhell, weren’t righthowtheydidus. wouldn’t poll tax — with anactofcivicdefiance:hervote. Deniedreproductivechoice, Hamerexercisesan chop: acollectionofkwansabas forfannie louhamer. These 30poemsadheretothestrict Between the World andMe. New York: Spiegel&Grau. — and blackgeneration — a “mama” whomadevisibleandaudiblethelaboringblack — visible, audible, haptic, vibrational: — 14 March. Accessed 26January2017. no, sing — backed upbytheforceof — fromherbookofpoetry — but also A Round 175 a New History —

Illinois Press. Illinois Press. Vintage. New York: Power. of Black to the Rise from Rosa Parks Movement of the Civil Rights North Carolina Press. University of City Chapbooks. Minneapolis: University of 69–87. Ann Kaplan, Devoney Looser and E. edited by in Dialogue, Feminists Minnesota Press. www.youtube.com/watch?v=McT_yie8R1U. October 2017. . Champaign: University of University Champaign: Lou Hamer . Fannie The Life of Sake: Freedom’s For 1999. Chana Kai. Lee, and Resistance Rape, Women, Black Street: End of the At the Dark 2011. L. Danielle McGuire, Chapel Hill: . Vision A Radical Democratic Movement: Freedom and the Black Ella Baker 2003. Barbara. Ransby, Winged OH: Stow, Lou Hamer. for Fannie a collection of kwansabas chop: 2015. Shields. Treasure Redmond, Academic In Generations: Barren History. The Fear of a “Generational Difficulties; or, 1997. Judith. Roof, Accessed 20 17 October. YouTube, #Hands Up.” YATES ASHLEY & “TEF POE 2014. superbrotha. IL: Haymarket Books. Chicago, . Liberation to Black #BlackLivesMatter From 2016. Keeanga-Yamahtta. Taylor, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00727 by guest on 27 September 2021