Abstract
Live art plays an increasingly significant role in Scotland’s ongoing attempts to reckon with the legacies of its involvement in the transatlantic slave trade. Frequently developed in response to the country’s imperial architecture – paid for through the wealth derived from trade in goods from plantations in the Americas and West Indies – this work challenges the wilful amnesia of contemporary Scotland while also articulating a decolonial project that enables the emergence of alternative historiographies. In surveying recent works by Adura Onashile, Alberta Whittle, Ashanti Harris and Thulani Rachia, this document suggests how such practice might invite a broader assessment of Scottish performance as an expression of public memory.
Published Version
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