Resist & Rise:The One Love Method and Human Rights Performance Ayshia Mackiestephenson (bio) In Spring 2021, Bunker Hill Community College (BHCC) students presented the performance Resist & Rise: Our Fight for Freedom at the Spring Arts Festival. In this performance, Black and Brown community college students created original works based upon the human rights concerns within their communities. I directed Resist & Rise1 as the professor for the learning community course "Introduction to Communication." There were performances on ending police brutality, criminal justice reform in the United States, and resisting white supremacy in pop culture. Students presented poetry, images, passionate speeches, archival Black history footage, and their own original films on these topics. The overall themes for the performance were to advocate for BIPOC human rights and to resist and rise above white supremacy. I used the One Love Method (One Love), a curriculum I designed to resist white supremacy in performance-based education and beyond to teach this course and direct the performance. The public performance was grounded in One Love as a means to empower Black and Brown students, encourage antiracist allyship, and serve our college community with inspiration, participation, and action. One Love is a tool to center Indigenous African epistemology and human rights activism in the performance studies and theatre classrooms, and the Resist & Rise performance is an example of its effectiveness. Analysis and Pedagogy "Love is necessary work and it is in love that we learn to resist, thrive, and lead under any circumstances." —bell hooks It is through human rights advocacy that this love can be expressed and realized. One Love is a performance studies pedagogy that recognizes all human beings as one, with one common African ancestry, and uses Yoruba rhetoric and philosophy as a way to dismantle racism in teaching and learning. It is a performance studies pedagogy, because performance is the study of how humans present their identity in culture and on the stage. The use of a Black framework is critical to Black and other BIPOC students presenting an identity that resists white supremacy and centers the subaltern's epistemology. The use of a Black and precolonial framework is in itself an act of social change and works to transform the performance space. Students used Yoruba philosophy as the foundation to their human rights project. One Love is also based upon the premise that using African Indigenous philosophy makes sense, because all human beings share African ancestry. It is based upon Black African (specifically Yoruba and Zulu) rhetoric and philosophy. At BHCC, I was inspired to design this method while teaching communication, performance studies, and theatre in 2019. One day, I was teaching a dualenrollment performance studies course and a Black high school student said that she hated having [End Page 139] no history and nothing that was hers alone and that she didn't have to take from white people. This statement from such a young woman really broke my heart and was the inspiration for this method. I knew that resisting white supremacy in education would take more than teaching Black history rooted in the US oppression and discrimination of Black people. Performance needs a means to move away from the centralization of white paradigms, of white ways of knowing and being and producing. I already knew that the field of performance studies and theatre in particular predominantly uses frameworks by white American and European artists (Viewpoints, Stanislavski, Meisner, and so on). Performance studies is highly influenced by Black scholars who have framed the field (D. Soyini Madison, Bryant Keith Alexander, Mary Weems, and so on), but there is little linkage to African epistemology or BIPOC human rights or the centering of African epistemology as a human right. I decided that my students needed a method of teaching performance-based work that centers African influence on performance and recognizes the human rights of Black and Brown people in our artistic practices. The young woman's cry for help coincided with my humanities division looking for faculty to train other faculty in innovative curriculum for Professional Development Day. I volunteered to design and lead the workshop "The One Love Method: An Antiracist Pedagogy." I continued to develop One Love over...
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