Beyond 90°: the angularities of black/queer/women/lean

This essay argues for detailed attention to the materiality of black queer women’s spatial coordinates, the literal points of contact with the surfaces we traverse, as sites where categories of race, gender, and sexuality are disciplined and negotiated. It does so through a brief history of how Man’s 90° relationship to the ground, a verticality and perpendicularity that valorizes a physical comportment that is also the structuring condition for one’s political capacities, is produced by enforcing black and indigenous subjects to the ground, invariably defining the categories of Otherness as 0° and 180°. Through a reading of Rashaad Newsome’s performance Shade Compositions, the author argues a reading of the angles that exceed 0°/90°/180° may provide paths for reorienting the possibilities of black queer presence in the field of the political. If 90° signals a delimited political field, then, one governed by notions of rational civility that are always exclusive of black and black queer bodies, might the angularities surrounding, say, 120° reveal sites of productive incivility that are inextricable from the lives, experiences, and certainly bodies of black queer women themselves?     

Politics and culture in a Diva's diversion: The body of Astrid Hadad in performance

Performance

Song of Lawino. Directed by Valeria Vazilevski and choreographed by Ja‐wole Willa Jo Zollar. Aaron Davis Hall, City University of New York, New York, January 5–8, 1989.

Abingdon Square. Directed by Irene Fornes. American Place Theatre, New York, 1988.

The Kathy &; Mo Show: Parallel Lives. Written and produced by Kathy Najimy and Mo Gaffney. Westside Arts Theatre, 1989.

Annulla, An Autobiography. Written and Directed by Emily Mann, performed by Linda Hunt. TNT (The New Theatre of Brooklyn), New York, October‐November, 1988.

The Warrior Ant. Written and directed by Lee Breuer; music composed by Bob Telson. Brooklyn Academy of Music, Next Wave Festival, October 19–30, 1988.

Go Between Gettysburg. Written, directed and designed by Linda Mussmann, in collaboration with Claudia Bruce and composer Semih Firincioglu. Theatre of the Riverside Church, New York City, November 10–20, 1988.

Mary Surratt. Written, directed, and designed by Linda Mussmann, in collaboration with Claudia Bruce; music by Semih Firincioglu. Time &; Space Limited production. New York, 1988.

Elizabeth Streb. Dance Chance series, Dance Theatre Workshop, New York, January 4–8 and 11–13, 1989.

Books

Dance, Sex and Gender: Signs of ‘Identity, Dominance, Defiance and Desire, by Judith Lynne Hanna. Chicago: University of Chicago Press, 1988 ($15.95 paper).

The public forum

Sexist Images in Women's Performance. Performances by Jerri Allyn, Ellen Fisher and Dancenoise, and Panel moderated by Peggy Shaw. Movement Research, New York, December 19, 1988.

The Edinburgh Fringe Festival. Edinburgh, Scotland, 1988.

Plenty Money, by Pat Kaufman; Men, Women and Margaret Fuller, by Laurie James; “An Evening of Dance: Karen Bernard, Jean Churchill and Joanna Zubaty”; “Readings by Sonia Taitz,” Women &; Performance Events Series, produced by Katheryn Kovalcik‐White. Tisch School of the Arts, New York University, June‐December, 1988.     

Pulses from the multitude: virtuosity and black feminist discourse

Using a dialogic format this conversation between two authors uses political theorist Paolo Virno's conception of the “multitude” to examine and compare two different arenas of black feminist protest that took place on social media in the latter half of 2013. As a performative article, it offers historical and theoretical background to the terms “multitude,” “public intellect,” and “virtuosic labor” in racialized capitalist formations, situating them to provide an alternative to the power of the State – an alternative that unlike the State does not claim to confer rights. The article looks at the Facebook response to a call from the Crunk Feminist Collective to white feminists to speak out on the verdict exonerating Trayvon Martin’s killer and offer counter images to those that describe Martin's killing as justified. It then looks at the public dialogue around the applicability of the term “feminism” to Beyoncé's self-titled “visual album.” Through aesthetic inquiry, the authors look at the form these examples of protest take to situate and propose the active viewing of these aesthetic forms by others on social media, as well as by the authors of this article, as a kind of virtuosic labor. The article concludes with a series of poems created using the “cut-up” technique designed to transmit feeling through subjective action and a task manifesto for white feminists to use as a guide.     

新时代劳动教育政策的“渐进一多源流”分析：调适、耦合与发展

劳动教育是中国特色社会主义教育制度的重要内容,新时代加强劳动教育具有重大的时代价值和战略意义。本研究运用修正的“渐进—多源流理论”分析了新时代劳动教育政策的制定过程。研究发现:劳动教育的不良指标、负面的政策反馈、焦点问题和事件构成问题源流;执政理念和价值选择、民意表达构成了政治源流;领导核心的推动作用、专家学者的政策建议、地方探索和经验、网络媒体的助推形成政策源流;习近平总书记在2018年全国教育大会上关于加强劳动教育的讲话打开了政策之窗。研究认为,在有限理性视野中,新时代劳动教育政策的制定是一个渐进调适的过程,中国语境下本土化因素对各源流产生重要影响,各源流渐进性明显,要关注网络对各源流带来的变化和影响,强化政策执行、协同推进。