Abstract
How might a song carry the past without being burdened by history? In his performances for the camera, for audio recordings, and for live audiences, the artist Kalup Linzy explores the urgency of this question for contemporary black and queer subjects. Linzy's 2009 video song cycle, SweetBerry Sonnet, is a musical archive of radical passivity—one that manifests the anticipatory stance taken towards the world by the multiple personae Linzy invents for his live performances and videos.
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