Kentika - Documents

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LIVRES

Artistes of colour : ethnic diversity and representation in the victorian circus

Ward, Steve
Philadelphia : Modern Vaudeville Press, 2021

We live in a society that places an increasing value in ethnic diversity and cultural identity. However, the contribution that performers from a variety of ethnic backgrounds made to the development of the circus in the nineteenth century is very often overlooked and largely forgotten. Pablo Fanque and Miss La La may be notable names of the period but there were many others besides. Using contemporary records and images, this book explores the wealth and depth of talented black and other ethnic performers, and the contribution they made to the success of the nineteenth century circus. These are iconic figures who should be drawn in from the margins of history and given the recognition they deserve.

We live in a society that places an increasing value in ethnic diversity and cultural identity. However, the contribution that performers from a variety of ethnic backgrounds made to the development of the circus in the nineteenth century is very often overlooked and largely forgotten. Pablo Fanque and Miss La La may be notable names of the period but there were many others besides. Using contemporary records and images, this book explores the ...

Cote : 791.309 03 W2561a 2021

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LIVRES

Circus life : performing and laboring under America's big top shows, 1830-1920

Childress, Micah D.
Knoxville, Tennessee : University of Tennessee Press, 2018

The nineteenth century saw the American circus move from a reviled and rejected form of entertainment to the “Greatest Show on Earth.” Circus Life by Micah D. Childress looks at this transition from the perspective of the people who owned and worked in circuses and how they responded to the new incentives that rapid industrialization made possible.
The circus has long been a subject of fascination for many, as evidenced by the millions of Americans that have attended circus performances over many decades since 1870, when the circus established itself as a truly unique entertainment enterprise. Yet the few analyses of the circus that do exist have only examined the circus as its own closed microcosm—the “circus family.” Circus Life, on the other hand, places circus employees in the larger context of the history of US workers and corporate America. Focusing on the circus as a business-entertainment venture, Childress pushes the scholarship on circuses to new depths, examining the performers, managers, and laborers’ lives and how the circus evolved as it grew in popularity over time. Beginning with circuses in the antebellum era, Childress examines changes in circuses as gender balances shifted, industrialization influenced the nature of shows, and customers and crowds became increasingly more middle-class.
As a study in sport and social history, Childress’s account demonstrates how the itinerant nature of the circus drew specific types of workers and performers, and how the circus was internally in constant upheaval due to the changing profile of its patrons and a changing economy. [editor summary]

The nineteenth century saw the American circus move from a reviled and rejected form of entertainment to the “Greatest Show on Earth.” Circus Life by Micah D. Childress looks at this transition from the perspective of the people who owned and worked in circuses and how they responded to the new incentives that rapid industrialization made possible.
The circus has long been a subject of fascination for many, as evidenced by the millions of ...

Cote : 791.309 73 C5369c 2018

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LIVRES

James Baldwin : The last interview and other conversations

Baldwin, James
Brooklyn : Melville House, 2014

"I was not born to be what someone said I was. I was not born to be defined by someone else, but by myself, and myself only." When, in the fall of 1987, the poet Quincy Troupe traveled to the south of France to interview James Baldwin, Baldwin's brother David told him to ask Baldwin about everything--Baldwin was critically ill and David knew that this might be the writer's last chance to speak at length about his life and work. The result is one of the most eloquent and revelatory interviews of Baldwin's career, a conversation that ranges widely over such topics as his childhood in Harlem, his close friendship with Miles Davis, his relationship with writers like Toni Morrison and Richard Wright, his years in France, and his ever-incisive thoughts on the history of race relations and the African-American experience. Also collected here are significant interviews from other moments in Baldwin's life, including an in-depth interview conducted by Studs Terkel shortly after the publication of Nobody Knows My Name. These interviews showcase, above all, Baldwin's fearlessness and integrity as a writer, thinker, and individual, as well as the profound struggles he faced along the way. [editor summary]

"I was not born to be what someone said I was. I was not born to be defined by someone else, but by myself, and myself only." When, in the fall of 1987, the poet Quincy Troupe traveled to the south of France to interview James Baldwin, Baldwin's brother David told him to ask Baldwin about everything--Baldwin was critically ill and David knew that this might be the writer's last chance to speak at length about his life and work. The result is one ...

Cote : 813.54 B1811j 2014

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LIVRES

Black performance theory

DeFrantz, Thomas F. ; Gonzalez, Anita
Durham : Duke University Press, 2014

Black performance theory is a rich interdisciplinary area of study and critical method. This collection of new essays by some of its pioneering thinkers--many of whom are performers--demonstrates the breadth, depth, innovation, and critical value of black performance theory. Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance. They examine the work of contemporary choreographers Ronald K. Brown and Reggie Wilson, the ways that African American playwrights translated the theatricality of lynching to the stage, the ecstatic music of Little Richard, and Michael Jackson's performance in the documentary This Is It. The collection includes several essays that exemplify the performative capacity of writing, as well as discussion of a project that re-creates seminal hip-hop album covers through tableaux vivants. Whether deliberating on the tragic mulatta, the trickster figure Anansi, or the sonic futurism of Nina Simone and Adrienne Kennedy, the essays in this collection signal the vast untapped critical and creative resources of black performance theory. [editor summary]

Black performance theory is a rich interdisciplinary area of study and critical method. This collection of new essays by some of its pioneering thinkers--many of whom are performers--demonstrates the breadth, depth, innovation, and critical value of black performance theory. Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the ...

Cote : 792.089 D316b 2014

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LIVRES

Black & Persons of Color Freak Show & Circus Performers of The Past

Blue II, Al W.
CreateSpace Independent Publishing Platform , 2014

This book takes a look at some of the early black and persons of color freak show and circus performers.I have tried to go back in history as far as possible. based on modern technology. Some of the images are graphic in nature but all are based on actual facts.In some cases there are only old photographs and the name of the performer has been lost in the bowels of history. [editor summary]

Cote : 791.350 899 607 3 B6581b 2014

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LIVRES

American sideshow : an encyclopedia of history's most wonderous and curiously strange performers

Hartzman, Marc
New York : Tarcher/Penguin, 2006

A fascinating look into the history of the American sideshow and its performers. Learn what’s real, what’s fake, and what’s just downright bizarre. You’ve probably heard of Tom Thumb. The Elephant Man. Perhaps even Chang and Eng, the original Siamese twins. But what about Eli Bowen, the legless acrobat? Or Prince Randian, the human torso? These were just a few of the many stars that shone during the heyday of the American sideshow, from 1840 to 1950. American Sideshow chronicles the lives of truly amazing performers, examining these brave and extraordinary curiosities not just as sideshow performers but as people, delving into the lives they led and the ways they were able to triumph over and even benefit from their abnormalities. American Sideshow discusses the rise and fall of the original sideshows and their subsequent replacement by today’s self-made freaks. With the progress of modern medicine, technological advancements, and the wonderful world of body modification, abnormalities are being overcome, treated and even prevented: Siamese twins can now be separated, and in addition to this, tongues can be forked, horns surgically implanted, and earlobes removed. There are also, of course, modern-day giants, fire eaters, sword swallowers, glass eaters, human blockheads, and oh, so much more. These fascinating personalities are celebrated through intimate biographies paired with stunning photographs. Approximately two hundred performers from the past one hundred and sixty years are featured, giving readers a comprehensive and sometimes astonishing look into the history of the American sideshow. [editor summary]

A fascinating look into the history of the American sideshow and its performers. Learn what’s real, what’s fake, and what’s just downright bizarre. You’ve probably heard of Tom Thumb. The Elephant Man. Perhaps even Chang and Eng, the original Siamese twins. But what about Eli Bowen, the legless acrobat? Or Prince Randian, the human torso? These were just a few of the many stars that shone during the heyday of the American sideshow, from 1840 to ...

Cote : 791.350 973 H338a 2006

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MEMOIRES ET THESES

Women who fly : aerialists in modernity (1880-1930)

Gils, Bieke
Vancouver : University of British Columbia, 2013

Around 1900, Charmion (alias Laverie Vallée) introduced a provocative ‘trapeze disrobing act,’ combined with feats of strength to her audiences in vaudeville theaters in New York. She was one of a wave of female aerialists whose performances quite literally ‘flew’ in the face of Victorian values. Trapeze artists in circuses and in vaudeville theaters, as well as stunt flying aviators showcasing their courage and abilities during local fairs or aerial exhibitions from the 1910s on, indeed pushed the boundaries of what was deemed possible in terms of the human body’s physical capacities while challenging traditional notions of gender, race, class, and sexuality through their unconventional performances. In this study I explore three cases of aerialists who navigated both the demands of managers/spectators for spectacular and titillating acts and their personal aspirations within the confines of the increasingly capitalist entertainment industries in the West between 1880 and 1930. Besides Charmion, my study takes shape around the performances of “Barbette” or Vander Clyde who took Parisian theaters by storm with an amalgamation of trapeze artistry and female impersonation in interwar France; and Bessie Coleman, the first African American woman to gain a pilot license and to set up her own flying shows throughout the United States in the 1920s. For each case study I conducted exhaustive archival searches and analysed relevant newspaper articles, magazines, show reviews, photographs and silent film. I draw on Mikhail Bakhtin’s concepts of the carnivalesque and the grotesque, and on Victor Turner’s concept of liminality to illustrate how aerial performances between 1880 and 1930 functioned as sites of creative resistance, opening up possibilities for a rethinking and redefinition of social categories of gender, race, class, and sexuality. I show how the performances of Charmion, Coleman and Barbette simultaneously reflected and challenged the anxieties and optimism of a society forced to revisit traditional beliefs regarding the gendered/racialized/classed/sexualized body. In demonstrating how these performers helped question modernizing beliefs regarding the human body’s capacities, and the female body’s physical abilities and appearance in particular, I argue they suggested new types of embodied agency for both women and men at the time. [editor summary]

Around 1900, Charmion (alias Laverie Vallée) introduced a provocative ‘trapeze disrobing act,’ combined with feats of strength to her audiences in vaudeville theaters in New York. She was one of a wave of female aerialists whose performances quite literally ‘flew’ in the face of Victorian values. Trapeze artists in circuses and in vaudeville theaters, as well as stunt flying aviators showcasing their courage and abilities during local fairs or ...

Cote : 791.340 82 G4895w 2013

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NUMEROS DE REVUES

Les cahiers de l'idiotie n°3 : Le clown : une utopie pour notre temps ?

Ottawa : Les Cahiers de l'idiotie, 2010

Le clown contemporain sort du milieu traditionnel du cirque pour investir d’autres lieux du social (école, hôpital, camps de réfugiés, etc.). Dans tous ces milieux, le clown comme figure friponne défie notre vision du monde et nous invite à renouveler nos manières de concevoir l’identité, la prise en charge et l’accompagnement des individus. En se donnant pour fonction d'échapper à toute catégorisation, le clown ne répond pas à ce qu’on attend de lui, vit dans l’imprévu et secoue tout ce qui s’enkyste ou s’engourdit. Cet être fondamentalement libre et engagé, profond et léger traduirait une posture existentielle particulière : celle du funambule en équilibre entre les contraires. La pensée peut-elle accepter de marcher avec lui en renonçant à l’espoir de le cerner? [résumé de l'éditeur]

Le clown contemporain sort du milieu traditionnel du cirque pour investir d’autres lieux du social (école, hôpital, camps de réfugiés, etc.). Dans tous ces milieux, le clown comme figure friponne défie notre vision du monde et nous invite à renouveler nos manières de concevoir l’identité, la prise en charge et l’accompagnement des individus. En se donnant pour fonction d'échapper à toute catégorisation, le clown ne répond pas à ce qu’on attend ...

Cote : 791.330 1 V785c 2010

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