NEW CONTENT COMING SOON!
Department of ENGLISH AND COMPARATIVE literature
RESEARCH INTERESTS:
Drama, Theatre and Performance Studies 20th and 21st Century African American Literature and Cultural History Africa Oral History Gender Sexuality Ethnicity and Race Studies Media Studies Political Theater Pedagogy Interdisciplinary Studies
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Academic Profile: https://english.columbia.edu/content/lauren-stockmon-brown
LinkedIn: https://www.linkedin.com/in/lauren-stockmon-brown-9b5883188/
GRADUATE SCHOOL OF ARTS AND SCIENCES, THEATRE & PERFORMANCE STUDIES
GRADUATE RESEARCH PORTFOLIO:
"Analyzing Miriam Makeba’s 1950-60s Musical Performances: a Response to the Erasure of Blackness in Urban South Africa"
"Analyzing Miriam Makeba’s 1950-60s Musical Performances: a Response to the Erasure of Blackness in Urban South Africa"
"Analyzing Miriam Makeba’s 1950-60s Musical Performances: a Response to the Erasure of Blackness in Urban South Africa"
Racial inequality is an integral part of South African law and society. Therefore, it cannot be easily reversed through legislation. Through a series of theoretical analysis, we can explore other functions and patterns that Miriam Makeba used to challenge white supremacy; with the hope of achieving economic, social, and political progress
Racial inequality is an integral part of South African law and society. Therefore, it cannot be easily reversed through legislation. Through a series of theoretical analysis, we can explore other functions and patterns that Miriam Makeba used to challenge white supremacy; with the hope of achieving economic, social, and political progress for all people.
It is crucial to situate an analysis of Makeba’s mid-twentieth century performances in a broader framework detailing the development of black performance theory. Emphasizing the entangled nature of these political institutions through a performance studies framework will offer an alternative way to examine the historical complexities of conflict and memory with an equally multifaceted approach
“Examining ‘Worldmaking’ and the ‘Worlds of Pan-Africanism’"
"Analyzing Miriam Makeba’s 1950-60s Musical Performances: a Response to the Erasure of Blackness in Urban South Africa"
"Analyzing Miriam Makeba’s 1950-60s Musical Performances: a Response to the Erasure of Blackness in Urban South Africa"
This paper through a visual analysis of the First World Festival of Negro Arts and Josephine Baker takes an ambitious, diachronic approach to the question of world-making by asking how and why the famous danse sauvage performance of Josephine Baker informed the cultural politics of post-independence Negritude and pan-Africanism, as repres
This paper through a visual analysis of the First World Festival of Negro Arts and Josephine Baker takes an ambitious, diachronic approach to the question of world-making by asking how and why the famous danse sauvage performance of Josephine Baker informed the cultural politics of post-independence Negritude and pan-Africanism, as represented at the Dakar festival of 1966. The paper works with concepts developed by Adom Getachew and Stuart Hall to posit a connection between these two events
"Examining Contemporary Gumboot Dancers: Continuing Performances of Masculinity in Historically Oppressive Spaces"
Exploring an “Alternative Way of Thinking” that Demonstrates How Singer/Songwriter India Arie is Using Her Song, “I Am Not My Hair” (2005) as a Tool to Show the Multitudes of Blackness in an American context.
Exploring an “Alternative Way of Thinking” that Demonstrates How Singer/Songwriter India Arie is Using Her Song, “I Am Not My Hair” (2005) as a Tool to Show the Multitudes of Blackness in an American context.
This literary analysis and visual examination revolves around the performance of the traditional African dance style, gumboot. This essay asks “what is at stake” politically and socially, in contemporary representations of masculinity throughout the African diaspora.This essay explores how dance has continued to act as a unique space in
This literary analysis and visual examination revolves around the performance of the traditional African dance style, gumboot. This essay asks “what is at stake” politically and socially, in contemporary representations of masculinity throughout the African diaspora.This essay explores how dance has continued to act as a unique space in which men of African descent are free to create and express their own individuality as well as collectivism.
Exploring an “Alternative Way of Thinking” that Demonstrates How Singer/Songwriter India Arie is Using Her Song, “I Am Not My Hair” (2005) as a Tool to Show the Multitudes of Blackness in an American context.
Exploring an “Alternative Way of Thinking” that Demonstrates How Singer/Songwriter India Arie is Using Her Song, “I Am Not My Hair” (2005) as a Tool to Show the Multitudes of Blackness in an American context.
Exploring an “Alternative Way of Thinking” that Demonstrates How Singer/Songwriter India Arie is Using Her Song, “I Am Not My Hair” (2005) as a Tool to Show the Multitudes of Blackness in an American context.
In this paper, I will explore an “alternative way of thinking” that demonstrates
“how” singer and songwriter India Arie is using the lyrics in her song, “I Am Not My Hair” (2006) as a tool to show the multitudes of Blackness in an American context. This paper examines a pop-culture moment that asks–– how is “I Am Not My Hair” a potentia
In this paper, I will explore an “alternative way of thinking” that demonstrates
“how” singer and songwriter India Arie is using the lyrics in her song, “I Am Not My Hair” (2006) as a tool to show the multitudes of Blackness in an American context. This paper examines a pop-culture moment that asks–– how is “I Am Not My Hair” a potential case study that can be investigated as 1) a contemporary rejection to the white gaze, and 2) a “precursor” to the 2019 CROWN Act?(“Creating a Respectful and Open World for Natural Hair Act).