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A Review of The Amen Corner, 2021
Ijeoma N. Njaka

The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”

James Baldwin Review
Abstract only
Moving from trauma to witness in the nightmares of Bronx Gothic
Carolyn Chernoff
Kristen Shahverdian

work enables the performer and the audience to reimagine Black futures (Phillips, 2016 : 48–54). 5 Memory alone is not enough, however; to do defiant memory work demands praxis – and imagination. As author Sadiya Hartman remarks in a conversation with Kimberlé Crenshaw, ‘So much of the work of oppression is about policing the imagination’ (Crenshaw, 2020 ). Bronx Gothic is a work of

in Dreams and atrocity
Marc James Léger

different models of being and belonging can be performed.’ 40 Reporting on the 56th Venice Biennale, Gaines celebrates the Das Kapital Oratorio and related works, such as Emeka Ogboh’s ‘Song of the Germans,’ for which the German national anthem was sung in ten African languages. He applauds the way that the ‘insidiously aural’ orchestration of sounds favoured transnationalism, combining the ‘flexible communicative powers’ of sound with visuality. 41 Oddly enough, Gaines associates his discussion of black futures and collective potential

in Vanguardia