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Julie Belafonte, in an early 1950s production of Southland. |
With this in mind, how do you interpret the historical significance of the production of Katherine Dunham's Southland, performed by the Cleo Parker Robinson Dance Ensemble? What neglected, distorted, or erased histories does it bring back into view? How does this production speak to our present moment? What alternative visions of the future does it challenge us to imagine?
By the start of class on Tuesday the 18th, please post a 250-300-word response to any or all of the questions above on our class discussion board. And please feel free -- indeed, encouraged! -- to engage with your classmates' posts.
By the start of class on Tuesday the 18th, please post a 250-300-word response to any or all of the questions above on our class discussion board. And please feel free -- indeed, encouraged! -- to engage with your classmates' posts.
(By the way, you might want to check out the article about Southland that appeared in the Denver Post the other day.)