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Salt in the Wound

Salt in the Wound ART & PERFORMANCE NOTES Anthony Roth Costanzo as Akhnaten and J’Nai Bridges as Nefertiti in Akhnaten. Photo: Karen Almond. Courtesy Metropolitan Opera. Salt in the Wound Laura Bissell Salt, a performance created and performed by Selina Thompson, Arnolfini, Bristol, England, May 12–19, 2016. lack-British performance artist Selina Thompson journeyed across the Atlantic Ocean over forty-two days in February/March 2016 by cargo ship Bto re-trace the route her birth parents and adoptive grandmother had made from Jamaica to the UK. While on the voyage, she devised her one-woman performance, Salt. Retracing routes across the Atlantic Ocean taken between the UK, Ghana, and Jamaica (known as the Transatlantic Trade Triangle), she followed the shipping course used to transport slaves and goods operating dur- ing the Imperial Age from late sixteenth century up to the nineteenth century. Through the retelling of Thompson’s experience of journeying across the ocean, the performance rubs salt in the wound of colonial trauma, activating history through remembrance and simultaneously performing both healing and hurt- ing. Since 2016, Salt has toured across the UK and to Brazil, Australia, Canada, and the U.S. (including a run in the Public Theater’s Under the Radar Festival in New York in January http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00540
Publisher site
See Article on Publisher Site

Abstract

ART & PERFORMANCE NOTES Anthony Roth Costanzo as Akhnaten and J’Nai Bridges as Nefertiti in Akhnaten. Photo: Karen Almond. Courtesy Metropolitan Opera. Salt in the Wound Laura Bissell Salt, a performance created and performed by Selina Thompson, Arnolfini, Bristol, England, May 12–19, 2016. lack-British performance artist Selina Thompson journeyed across the Atlantic Ocean over forty-two days in February/March 2016 by cargo ship Bto re-trace the route her birth parents and adoptive grandmother had made from Jamaica to the UK. While on the voyage, she devised her one-woman performance, Salt. Retracing routes across the Atlantic Ocean taken between the UK, Ghana, and Jamaica (known as the Transatlantic Trade Triangle), she followed the shipping course used to transport slaves and goods operating dur- ing the Imperial Age from late sixteenth century up to the nineteenth century. Through the retelling of Thompson’s experience of journeying across the ocean, the performance rubs salt in the wound of colonial trauma, activating history through remembrance and simultaneously performing both healing and hurt- ing. Since 2016, Salt has toured across the UK and to Brazil, Australia, Canada, and the U.S. (including a run in the Public Theater’s Under the Radar Festival in New York in January

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Sep 1, 2020

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