April Sizemore‐barber
Biographic Data
| ID | 4860487 |
|---|---|
| NAME | April Sizemore‐barber |
| GIVEN NAMES | April |
| FAMILY NAME | Sizemore‐barber |
| SIGNATURE | BARBER A S |
| AFFILIATIONS | Schlumberger (Ireland) |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
National Arts Festival (review)
Prismatic Performances: Queer South Africa and the Fragmentation of the Rainbow Nation
At his 1994 inauguration, South African president Nelson Mandela announced the "Rainbow Nation, at peace with itself and the world." This national rainbow notably extended beyond the bounds of racial coexistence and reconciliation to include "sexual orientation" as a protected category in the Bill of Rights. Yet despite the promise of equality and dignity, the new government's alliance with neoliberal interests and the devastation of the AIDS epi…
Archival movements: South Africa’s Gay and Lesbian Memory in Action
This article explores the outreach and everyday practice of the Johannesburg LGBTI archive Gay and Lesbian Memory in Action (GALA), in a context where the archive – as both theoretical concept and material collection – has become increasingly central to both postcolonial and queer studies. As the only queer archive on the African continent, GALA by necessity takes on a number of roles unusual for an archive, becoming a community center, art thera…
National Arts Festival
A Queer Transition: Whiteness in the Prismatic, Post-Apartheid Drag Performances of Pieter-Dirk Uys and Steven Cohen
This essay analyzes the use of drag and gender subversion by two white South African performers, Pieter-Dirk Uys and Steven Cohen, during the long decade bisected by South Africa's political transition (roughly 1990 to 2001). While satirist Uys invented his drag alter ego Evita Bezuidenhout to critique the hypocrisy of the apartheid regime, his post-apartheid performances modeled a rehabilitated, self-critical whiteness. Breaking the fourth wall,…
The Voice of (Which?) Africa: Miriam Makeba in America
Throughout her time as a concert singer in 1960s America Miriam Makeba was promoted as the embodied voice of a sonic, imagined Africa. Where her white audiences were attracted to the complete ‘‘otherness’’ of her African blackness, her black American audiences saw themselves – or imagined versions of themselves – put on stage, and built solidarities between their own struggle and the struggle against apartheid. In this essay, I argue that the dis…
The Voice of (Which?) Africa: Miriam Makeba in America
Throughout her time as a concert singer in 1960s America Miriam Makeba was promoted as the embodied voice of a sonic, imagined Africa. Where her white audiences were attracted to the complete ‘‘otherness’’ of her African blackness, her black American audiences saw themselves – or imagined versions of themselves – put on stage, and built solidarities between their own struggle and the struggle against apartheid. In this essay, I argue that the dis…
Archival movements: South Africa’s Gay and Lesbian Memory in Action
This article explores the outreach and everyday practice of the Johannesburg LGBTI archive Gay and Lesbian Memory in Action (GALA), in a context where the archive – as both theoretical concept and material collection – has become increasingly central to both postcolonial and queer studies. As the only queer archive on the African continent, GALA by necessity takes on a number of roles unusual for an archive, becoming a community center, art thera…
A Queer Transition: Whiteness in the Prismatic, Post-Apartheid Drag Performances of Pieter-Dirk Uys and Steven Cohen
This essay analyzes the use of drag and gender subversion by two white South African performers, Pieter-Dirk Uys and Steven Cohen, during the long decade bisected by South Africa's political transition (roughly 1990 to 2001). While satirist Uys invented his drag alter ego Evita Bezuidenhout to critique the hypocrisy of the apartheid regime, his post-apartheid performances modeled a rehabilitated, self-critical whiteness. Breaking the fourth wall,…
The Voice of (Which?) Africa: Miriam Makeba in America
Throughout her time as a concert singer in 1960s America Miriam Makeba was promoted as the embodied voice of a sonic, imagined Africa. Where her white audiences were attracted to the complete ‘‘otherness’’ of her African blackness, her black American audiences saw themselves – or imagined versions of themselves – put on stage, and built solidarities between their own struggle and the struggle against apartheid. In this essay, I argue that the dis…
A Queer Transition: Whiteness in the Prismatic, Post-Apartheid Drag Performances of Pieter-Dirk Uys and Steven Cohen
This essay analyzes the use of drag and gender subversion by two white South African performers, Pieter-Dirk Uys and Steven Cohen, during the long decade bisected by South Africa's political transition (roughly 1990 to 2001). While satirist Uys invented his drag alter ego Evita Bezuidenhout to critique the hypocrisy of the apartheid regime, his post-apartheid performances modeled a rehabilitated, self-critical whiteness. Breaking the fourth wall,…
Archival movements: South Africa’s Gay and Lesbian Memory in Action
This article explores the outreach and everyday practice of the Johannesburg LGBTI archive Gay and Lesbian Memory in Action (GALA), in a context where the archive – as both theoretical concept and material collection – has become increasingly central to both postcolonial and queer studies. As the only queer archive on the African continent, GALA by necessity takes on a number of roles unusual for an archive, becoming a community center, art thera…
National Arts Festival
Prismatic Performances: Queer South Africa and the Fragmentation of the Rainbow Nation
At his 1994 inauguration, South African president Nelson Mandela announced the "Rainbow Nation, at peace with itself and the world." This national rainbow notably extended beyond the bounds of racial coexistence and reconciliation to include "sexual orientation" as a protected category in the Bill of Rights. Yet despite the promise of equality and dignity, the new government's alliance with neoliberal interests and the devastation of the AIDS epi…
National Arts Festival (review)
Art (5 works) · Gender Studies (4 works) · Law (4 works) · Political science (4 works) · Politics (4 works) · Sociology (4 works) · Aesthetics (3 works) · African Sexualities and LGBTQ+ Issues (3 works) · Gender Studies (3 works) · History (3 works)