Colored Girls Who Research Articles

Quadruvium

Research Article| May 01 2022 quadruvium: for Daniel Prude Risë Kevalshar Collins Risë Kevalshar Collins Risë Kevalshar Collins is an emerging essayist, poet, and fiction short-story writer studying creative writing at Boise State University where she has served on the editorial staff of Idaho Review. Risë earned an MSW at the University of Houston. She holds a BFA in drama from Carnegie Mellon University and was a member of the original Broadway production of For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf by Notzake Shange. Risë’s play, Incandescent Tones, has been produced off-Broadway and in repertory theatre. Her op-ed essays have been published in Idaho Statesman, The Blue Review, Boise Weekly, Arbiter, and elsewhere. Recently, she was featured on the Idaho PBS online series “The 180.” Her creative nonfiction was selected as a finalist for North American Review’s Terry Tempest Williams Prize. Risë’s creative nonfiction, fiction, and/or poetry appears or is forthcoming in The Indianapolis Review, Michigan Quarterly Review, Minnesota Review, North American Review, Texas Review, and Tupelo Quarterly. Rise’s writing has been supported by a grant from The Alexa Rose Foundation. Search for other works by this author on: This Site Google the minnesota review (2022) 2022 (98): 42–43. https://doi.org/10.1215/00265667-9563779 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Risë Kevalshar Collins; quadruvium: for Daniel Prude. the minnesota review 1 May 2022; 2022 (98): 42–43. doi: https://doi.org/10.1215/00265667-9563779 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. © 2022 Risë Kevalshar Collins2022 Article PDF first page preview Close Modal You do not currently have access to this content.

Black Feminism Reimagined: After Intersectionality by Jennifer Nash

Reviewed by: Black Feminism Reimagined: After Intersectionality by Jennifer Nash Brenna M. Casey Jennifer Nash.Black Feminism Reimagined: After Intersectionality. Durham: Duke UP, 2019. 184 pp. $23.95. When Jennifer Nash returns to the state at the conclusion of her potent Black Feminism Reimagined: After Intersectionality, it feels, as she notes: “risky” (117). “Against the grain of the moment,” writes Nash, hailing the state’s diurnal renewal of anti-Black violence, “I suggest that the juridical might be precisely where black feminists need to root our loving practice” (115). Beyond mere redress, Nash advocates an orientation to radical politics that dispenses with a presumptive antistate imperative. “What if the disavowed deathly archive of law is reimagined as a home for black feminism’s loving practice?” (113). Nash’s project throughout the book is to excavate the “largely forgotten connections” of law to the ubiquitous sign of intersectionality—a Black feminist theoretic that has come to frame shorthand considerations of the interlocking structures of domination (114). The term’s most frequently cited source is legal scholar Kimberlé Crenshaw’s exacta box of articles, “Demarginalizing the Intersection of Race and Sex” (1989) and “Mapping the Margins” (1991), in which a metaphorical traffic intersection is deployed as an analogue for US antidiscrimination law that submits Black women to converging biases. From these coordinates, Nash produces an intellectual history of the term’s evolution and attendant applications. Citing figures like Anna Julia Cooper, Frances Beale, and the Combahee River Collective, Nash reveals the durational warp and weft of Black feminist intellectual labor. Rather than positioning intersectionality as a singular emergence, Nash reveals it as part of a “cohort of terms” that multivocal Black feminists have long cultivated for a sophisticated analysis of oppression’s interconnected mechanizations (6). While Nash acknowledges its mainstream migrations—untethered from the analytic’s history—it is with intersectionality’s atonic institutional life that Black Feminism Reimagined is most concerned. Nash identifies intersectionality as the primary program-building initiative of women’s studies, which has rendered it as a disciplinary corrective to a racist and wholly gender-focused field, but often as an implicit equivalency with Black feminism, Black feminists, and “the body that haunts the analytic,” Black women (2). This positions Black feminists as salvific “disciplinarians who quite literally whip the field into shape” on the one hand, and heavies who usher in the demise of a fictitiously coherent field on the other (13). Nash reflects on intersectionality’s co-optation by the neoliberal university’s “diversity and inclusion complex,” where equity initiatives shift inclusion from remedial affirmative action ideals to the logic of students of color offering pedagogical value-added for an increasingly global white work force (22). She analyzes the freighted deployments of “intersectional scholar” ads in the ever-diminishing [End Page 95] academic job market and pulses the term’s nefarious liaisons with “interdisciplinary” labor. Highly mobile, adaptable, “filled with promise and emptied of specific meaning” (2), intersectionality has been claimed by various and vying factions of the academy. The book traces the frustration, territoriality, and exhaustion that adhere to these migrations of a term constituted by Black feminism—a tradition whose ideas and actors have long been abused, disavowed, and erased by the academy. Nash diagnoses these imbricated feelings as “a posture of defensiveness.” One compelling illustration is of a conference panelist who quotes Ntozake Shange’s For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf while ruminating on intersectionality’s institutional promiscuity: “Somebody almost walked off wid alla my stuff.” Nash’s recognizes this sense of possession and loss as the Black feminist affect that appends to intersectionality’s circulations. “What does it mean,” Nash queries, “when an anticaptivity project like black feminist theory claims ownership as a primary model for conducting black feminist inquiry?” (26). As critic and acolyte, Nash plumbs “the felt life of black feminism” (28). She charts “the intersectionality wars”—the discursive, political, and theoretical battles that seem to be waged over intersectionality’s vexed origin stories, appropriations, and criticisms. These persuasive narratives suggest that intersectionality requires a robust defense from usurpers and critics, and demands scholars to position themselves as either for or against the...

The “Atmos-Feeling” of Resurrection: Feeling Black (Not Slave) in Black Arts Movement Drama

This article explores performances of slavery and the afterlife of slavery in drama of the 1960s and 1970s Black Arts Movement. I use Amiri Baraka’s theory of “atmos-feeling” as a means of analysing the Black Arts Movement’s undoing of the equation of the black body and the slave body. Through an analysis of a wide range of plays ( The Slave, Slave Ship, For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf, and Funnyhouse of a Negro), I uncover the differences between the Black Arts Movement framing of slavery and twenty-first-century Afro-pessimism.

„Judgemental Category‟ is the Major Concept in Ntozake Shange‟s “For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf”

This paper aims to explore the frequencies of using the Attitudinal resources in Shange‟s Postmodern American drama “For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf”. The purpose of that investigation is to make a comparative analysis among all three types of Attitude categories which are: Appreciation, Judgment, and Affect. In order to accomplish the role of being the spokesperson of black American women in the United States of America by delivering the real agony and oppression that those people faced because of their class, gender, and race. The playwright has presented and cantered on seven black women who encountered some form of neglect, harassment, and abuse; either emotionally, sexually, or physically. The analysing process has presented that the playwright had utilized many linguistic resources; „Judgement‟. This category is considered as one of the major Attitudinal systems in the discourse-semantic appraisal mode within Systemic Functional Linguistics (SFL) for interpersonal meanings. Judgement is connected with the evaluation of black women‟s characters as well as their behaviours in this literary text. This article intends to discover the reason behind the heavy use of that category compared with the other two types of Attitudinal system. The paper has adopted qualitative and quantitative methods to conduct the objectives of the Attitudinal resources in the selected data sets. This paper has concluded that in the Attitude category, Judgement turned to be the most presentation system comparing with the other Attitudinal types which are Affect and Appreciation. Moreover, within the scope of Judgement „Propriety‟ and „Tenacity‟ have exceeded other judgmental subtypes.

For Transgender Colored Girls Who Have Considered Suicide When Social Justice Is Enough!

For Transgender Colored Girls Who Have Considered Suicide When Social Justice Is Enough!

For Transgender Colored Girls Who Have Considered Suicide When Social Justice Is Enough!

For Transgender Colored Girls Who Have Considered Suicide When Social Justice Is Enough!

“bein alive & bein a woman & bein colored”: The Metaphysical Dilemma in Ntozake Shange, Sherley Anne Williams, and Toni Morrison

This essay is an analysis of three literary works by black women writers from the U.S.: Ntozake Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf, Sherley Ann Williams’ novel Dessa Rose, and Toni Morrison’s novel Beloved. In my analysis, I use Shange’s trope of the “methaphysical dilemma” to consider the intersections of gender, race, and sexuality in these writers’ textual representations of black women’s bodies. Writing against a historical legacy of colonialism and domination that defined black bodies as “primitive” or “unbridled” (bell hooks 1991), I argue that these works illustrate some of the artistic/literary strategies contemporary black women writers use to re-claim the power of voice/voicing as they depict black women’s subjectivities as unfinished, complex, but self-fashioned creations.

Project “For Colored Girls:” Breaking the shackles of role deprivation through prison theatre

A prison theatre workshop at Bayview Correctional Facility (BCF) in Manhattan combines improvisational techniques, play rehearsal, and performance. Ten women participate for eight weeks as cast and crew in a production of For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf by African American playwright Ntozake Shange. The characters reflect different types of women in critical situations, breaking the long held silence marginalized women feel due to oppression. Written in poetic verse, scenes dramatize rites of passage, sisterhood and female sexuality, abandonment, poverty, abuse, rape, and unrequited love providing many archetypal roles that resonate with the actors and prison audience.This article is a descriptive account using both narrative and journal entries written contemporaneously during the production, focusing on the obstacles of mounting a theatrical production within a prison setting and on the challenges of working with female offenders.Archetypical roles from Robert Landy's extensive work in drama therapy are referenced to reflect the function and diversity of role types in the drama and to illustrate how the artistic work expands the diminished life roles of women in prison. Thoughts on Agusto Boal's theory regarding invitational theatre, within the setting of a prison, are discussed.

Gray or For Colored Girls Who Are Tired of Chasing Rainbows: Race and Reflexivity

Reflexivity interrogates the cause and effect of self-awareness and self-reference in qualitative work. This article uses reflexivity to resolve the meaning and implications that race has on ethnographic research. The author argues that race automatically and inevitably influences research, therefore conscious race reflexivity is a useful tool for auto/ ethnographic work. Even when race is not named out loud, it is germane to how an ethnographic project will be conceptualized, interpreted, and completed. By using examples from ethnographic studies that concentrate on race and excerpts from personal experiences, the author names the reflexive stories “race stories” and identifies the analytic reflections that follow, “gray spaces,” to reference and demonstrate the subjective and synergistic role of race in reflexive research.

Introduction to Focus: "This Instant and This Triumph": Women of Color Publishing

Page 4 American Book Review “This Instant and This Triumph”: Women of Color Publishing Introduction to Focus: Alexis Pauline Gumbs, Focus Editor Women of color in the US have been using the printed word as a medium for imagination and protest for more than a century. In the 1800s, novelist Pauline Hopkins was a co-founder of the collective Colored American Magazine, where she published short stories and serial novels that imagined the equality of the races as a rational and achievable future.Antilynching crusader Ida B. Wells co-founded her own newspaper, and when her offices were burned to the ground, she rallied black women and raised the funds to publish pamphlets on lynching and racist mob rule in theAmerican South. In the mid-twentieth century, Chicana feminists in the US invoked the memory of Las Hijas de Cuahtemoc, women who fought in the Mexican Revolution, as they created a network of campus-based newspapers and anthologies through which to theorize the relevance and contours of Chicana feminism. In the early 1980s, a group of women including Barbara Smith, Audre Lorde (from whose “Litany for Survival” the title of this piece comes), and Cherríe Moraga came together to found Kitchen Table: Women of Color Press, which published Home Girls: A Black Feminist Anthology (1983) and kept This Bridge Called My Back: Writing by Radical Women of Color (1983) in print for more than a decade. Though women of color sustained publishing initiatives before and throughout the twentieth century , the very act of what this section calls “Women of Color Publishing” is embattled and almost counter-intuitive. The dominant narratives of state policy and the cherished “great work” of American literature have not characterized women of color as intellectuals or important cultural producers. Instead, women of color have been caricaturized as reproducers of domestic stability in the homes of the literarily relevant, and deviant reproducers of pathological cultures of poverty at worst. And further, as the selfproclaimed “third world feminists” in the US asserted in the 1980s, neither the seeming refuges of feminist publishing or third-world publishing supported the critical voices of women of color. Women of color producing literary texts (or anything else) on their own terms smacks of danger. In the 1970s when eventual Nobel laureate Toni Morrison used her tokenized role within a mainstream publishing house to encourage the work of black women writers such as Alice Walker and Ntozake Shange, their work was met with an intense critical backlash from black male critics who attacked , not the literary merit of Walker’s The Color Purple (1982) or Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf (1975), but rather the supposedly “divisive” audacity of the authors in representing and responding to rape and domestic violence against women in their texts. Morrison and other black women writers working in that time period, including Walker, Shange, June Jordan, VèVè Clark, and others, realized that autonomous publishing was the only way to create space for their voices. In a collective called “The Sisterhood,” these women envisioned a publishing company called Kizzy Enterprises that would have operated out of Shange’s house, funded on a profitless basis and through which they intended to keep texts that they deemed crucial in print and available. When Cherríe Moraga and Gloria Anzaldúa brought together writings by radical women of color to protest the abusive tokenization of women of color in the mainstream feminist movement and to create a viable network for women of color, the feminist publisher Persephone Press was not willing or able color presses in this moment reaches beyond the publication of women of color by women of color for women of color; this section features work that ranges from essays, critical analysis, poetry, fiction, interactive art and work authored by multi-racial groups of women, women of color collectives, men of color, and like-minded people of many genders and backgrounds. However, these works are far from generalist, and each creates an intimate relationship that assumes the participation of readers in a shared project of transformation. RedBone Press Lisa Moore founded RedBone Press after successfully publishing the groundbreaking anthology Does...

For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (review)

For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (review)

The following is an edited transcript of the talk given by Bonnie Greer

Critical QuarterlyVolume 37, Issue 4 p. 107-109 The following is an edited transcript of the talk given by Bonnie Greer BONNIE GREER, BONNIE GREER BONNIE GREER was born in Chicago, Illinois, and has lived in London since 1986. Her short fiction has been published by Serpent's Tail and Aurora Metro. Her first novel, Hanging By Her Teeth, was published in 1994 by Serpent's Tail. She is currently working on two books commissioned by Serpent's Tail: Rupture - formerly Running to the Bridge, a book of short fiction - and The B Side - formerly The Music In Her Head, her second novel. Bonnie is also an award-winning playwright. Her play Munda Negra is published by Methuen in Black Plays Three. She has just adapted Ntozoke Shage's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf for BBC Radio, to be broadcast in January 1966.Search for more papers by this author BONNIE GREER, BONNIE GREER BONNIE GREER was born in Chicago, Illinois, and has lived in London since 1986. Her short fiction has been published by Serpent's Tail and Aurora Metro. Her first novel, Hanging By Her Teeth, was published in 1994 by Serpent's Tail. She is currently working on two books commissioned by Serpent's Tail: Rupture - formerly Running to the Bridge, a book of short fiction - and The B Side - formerly The Music In Her Head, her second novel. Bonnie is also an award-winning playwright. Her play Munda Negra is published by Methuen in Black Plays Three. She has just adapted Ntozoke Shage's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf for BBC Radio, to be broadcast in January 1966.Search for more papers by this author First published: December 1995 https://doi.org/10.1111/j.1467-8705.1995.tb01103.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume37, Issue4December 1995Pages 107-109 RelatedInformation

The Double‐Jointed Black Girl: A sketch

Critical QuarterlyVolume 37, Issue 4 p. 110-112 The Double-Jointed Black Girl: A sketch BONNIE GREER, BONNIE GREER BONNIE GREER was born in Chicago, Illinois, and has lived in London since 1986. Her short fiction has been published by Serpent's Tail and Aurora Metro. Her first novel, Hanging By Her Teeth, was published in 1994 by Serpent's Tail. She is currently working on two books commissioned by Serpent's Tail: Rupture - formerly Running to the Bridge, a book of short fiction - and The B Side - formerly The Music In Her Head, her second novel. Bonnie is also an award-winning playwright. Her play Munda Negra is published by Methuen in Black Plays Three. She has just adapted Ntozoke Shage's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf for BBC Radio, to be broadcast in January 1966.Search for more papers by this author BONNIE GREER, BONNIE GREER BONNIE GREER was born in Chicago, Illinois, and has lived in London since 1986. Her short fiction has been published by Serpent's Tail and Aurora Metro. Her first novel, Hanging By Her Teeth, was published in 1994 by Serpent's Tail. She is currently working on two books commissioned by Serpent's Tail: Rupture - formerly Running to the Bridge, a book of short fiction - and The B Side - formerly The Music In Her Head, her second novel. Bonnie is also an award-winning playwright. Her play Munda Negra is published by Methuen in Black Plays Three. She has just adapted Ntozoke Shage's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf for BBC Radio, to be broadcast in January 1966.Search for more papers by this author First published: December 1995 https://doi.org/10.1111/j.1467-8705.1995.tb01104.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume37, Issue4December 1995Pages 110-112 RelatedInformation

For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf

For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf

Cooperative Communication Strategies

The images of the black are many and varied. But while the images oscillate, a strong central theme is generated on the works on blacks which leaves the impression that behaviors in the black are not those actions which contribute to a sense of community. Researchers, even those who attempt to write in a manner about the black (Abrahams, 1970; Hannerz, 1969), focus on negative characteristics. The mass media images of blacks have been rather stereotypic and have concentrated on crime and antisocial actions (Graber, 1976); so the positive image of the black is rarely presented (Kerner Commission, 1968). Even popular artists such as Michele Wallace in her book, Black Macho and the Myth of the Superwoman, and Ntozake Shange in her play, For Colored Girls Who Have Considered Suicide! When the Rainbow is Enuf, paint a picture of a where black male-female relationships are at best characterized by serious strain. The total impression left by these works seems to be a black situation based on rather than on cooperation as the term community implies. Whether or not the conflicts are

Is not so gd to be born a girl (I), otherwise i would think it odd to have rape prevention month (2)

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsNtozake ShangeNtozake Shange is the author of the hit play For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.

Book Review: For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf

Book Review: For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf

For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf

For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf