This book examines the political alliances that are built across the diaspora in contemporary plays written by Black women playwrights in the UK. Through the concept of creative diasporic solidarity, it offers an innovative theoretical approach to examine the ways in which the playwrights respond creatively to the violence and marginalisation of Black communities, especially Black women. This study demonstrates that theatre can act as a productive space for the ethical encounter with the Other (understood in terms of alterity, as someone different from the self) by examining the possibilities of these plays to activate the spectators’ responsibility and solidarity towards different types of violence experienced by Black women, offering alternative modes of relationality. The book engages with a range of contemporary works written by Black women playwrights in the UK, including Mojisola Adebayo, Theresa Ikoko, Diana Nneka Atuona, Gloria Williams, Charlene James, or Yusra Warsama, bringing to the fore a gendered and intersectional approach to the analysis of the texts. This book will be of great interest to students and scholars in contemporary theatre, gender studies and diaspora studies.

This selection of six contemporary plays explores a wide range of issues — familial, social, mythological, political — with women centre stage. The plays are distinct from each other in structure, theme and style, but are bound together by a common thread — the position and role of women in family, social and political systems. Issues such as sexual abuse, in-law relationships, the trauma of ageing, the struggle for women’s empowerment, love and passion, desire and revenge, and dynastic politics are discussed through the varying perspectives of a number of characters, bringing an immediacy and urgency to the subjects under consideration. What is significant about the plays is that they highlight the manipulation of the English language resulting with the introduction of an ‘Indian’ syntax. Multilingualism is used to offset the so-called ‘westernisation’ that has been the by-product of the systematic globalisation of ‘third world’ countries. While the plays are meant to be staged, they are also very reader-friendly and will be entertaining as well as educative for the general reader.

This book marks a significant methodological shift in studies of black British women’s theatre: it looks beyond published plays to the wealth of material held in archives of various kinds, from national repositories and themed collections to individuals’ personal papers. It finds there a cache of unpublished manuscripts and production recordings distinctive for their non-naturalistic aesthetics. Close analysis of selected works identifies this as an intersectional feminist creative practice. Chapters focus on five theatre companies and artists, spanning several decades: Theatre of Black Women (1982-1988), co-founded by Booker Prize-winning writer Bernardine Evaristo; Munirah Theatre Company (1983-1991); Black Mime Theatre Women’s Troop (1990-1992); Zindika; and SuAndi. The book concludes by reflecting on the politics of representation, with reference to popular postmillennial playwright debbie tucker green. Drawing on new interviews with the playwrights/practitioners and their peers, this book assembles a rich, interconnected, and occasionally corrective history of black British women’s creativity. By reproducing 22 facsimile images of flyers, production programmes, photographs and other ephemera, Black British Women’s Theatre: Intersectionality, Archives, Aesthetics not only articulates a hidden history but allows its readers their own encounter with the fragile record of this vibrant past.

This book brings together a diverse range of critical interventions in sexuality and gender studies, and seeks to encourage new ways of thinking about the connections and tensions between sexual politics, citizenship and belonging. The book is organized around three interlinked thematic areas, focusing on sexual citizenship, nationalism and international borders (Part 1); sexuality and "race" (Part 2); and sexuality and religion (Part 3). In revisiting notions of sexual citizenship and belonging, contributors engage with topical debates about "sexual nationalism," or the construction of western/European nations as exceptional in terms of attitudes to sexual and gender equality vis-à-vis an uncivilized, racialized "Other." The collection explores macro-level perspectives by attending to the geopolitical and socio-legal structures within which competing claims to citizenship and belonging are played out; at the same time, micro-level perspectives are utilized to explore the interplay between sexuality and "race," nation, ethnicity and religious identities. Geographically, the collection has a prevalently European focus, yet contributions explore a range of trans-national spatial dimensions that exceed the boundaries of "Europe" and of European nation-states.

This book brings together nearly 40 academics and theatre practitioners to chronicle and celebrate the courage, determination and achievements of women on stage across the ages and around the globe. The collection stretches from ancient Greece to present-day Australasia via the United States, Soviet Russia, Europe, India, South Africa and Japan, offering a series of analytical snapshots of women performers, their work and the conditions in which they produced it. Individual chapters provide in-depth consideration of specific moments in time and geography while the volume as a whole and its juxtapositions stimulate consideration of the bigger picture, underlining the challenges women have faced across cultures in establishing themselves as performers and the range of ways in which they gained access to the stage. Organised chronologically, the volume looks not just to the past but the future: it challenges the very notions of ‘history’, ‘stage’ and even the definition of ‘women’ itself.

A collection of classic texts and new black feminist scholarship that traces the crucial developments and debates of the last twenty years. It is the first volume entirely dedicated to the writings of black women in a British context.

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

This book contains a lively and wide ranging collection of critical essays on Black women's writing from Afro-American, African, South African, British and Caribbean novelists, poets, short story writers and a dramatist. The contributors are black and white, female and male, academics and readers who chart their engagement with and enjoyment of the texts of some of the key figures in black women's writing across several continents.

Explains how precious fiction is to contemporary British fiction readers, and how they draw on it to tell the stories of their lives. Draws on over 500 interviews with and questionnaires from women readers and writers.

THE FLAGSHIP 2019 RELEASE OF #MERKY BOOKS ____________________________ ‘Brilliant’ CANDICE CARTY-WILLIAMS ‘Hugely important’ PAULA AKPAN ‘Essential’ BERNARDINE EVARISTO ____________________________ As a minority in a predominantly white institution, taking up space is an act of resistance. Recent Cambridge grads Chelsea and Ore experienced this first-hand, and wrote Taking Up Space as a guide and a manifesto for change. FOR BLACK GIRLS: Understand that your journey is unique. Use this book as a guide. Our wish for you is that you read this and feel empowered, comforted and validated in every emotion you experience, or decision that you make. FOR EVERYONE ELSE: We can only hope that reading this helps you to be a better friend, parent, sibling or teacher to black girls living through what we did. It's time we stepped away from seeing this as a problem that black people are charged with solving on their own. It's a collective effort. And everyone has a role to play. Featuring honest conversations with students past and present, Taking Up Space goes beyond the buzzwords of diversity and inclusion and explores what those words truly mean for young black girls today. ____________________________ #Merky Books was set up by publishers Penguin Random House and Stormzy in June 2018 to find and publish the best writers of a new generation and to publish the stories that are not being heard. #Merky Books aims to open up the world of publishing, and this year has launched a New Writer’s Prize and will soon be launching a #Merky Books traineeship. ‘I know too many talented writers that don’t always have an outlet or a means to get their work seen, and hopefully #Merky Books can now be a reference point for them to say “I can be an author”, and for that to be a realistic and achievable goal… Reading and writing as a kid were integral to where I am today and I, from the bottom of my heart, cannot wait to hear your stories and get them out into the big wide world.’ STORMZY