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|Named Person:||Zora Neale Hurston; Gloria Bond Clunie; Pat McKissack; Gloria Bond Clunie; Zora Neale Hurston; Pat McKissack|
|Material Type:||Thesis/dissertation, Manuscript|
|Document Type:||Book, Archival Material|
|All Authors / Contributors:||
Shondrika Lanise Moss
|Reproduction Notes:||Microfiche. Ann Arbor, Mich. : University Microfilms International, 2003. 3 microfiches ; 11 x 15 cm. "30-87949."|
|Description:||viii, 240 leaves|
|Responsibility:||Shondrika Lanise Moss.|
Chapter One is a very detailed introduction to these characteristics. It gives background to Hurston and her literary works and research. In addition, this chapter demonstrates Hurston's contribution to the field of performance studies. Chapter Two, "Lies above Suspicion," analyzes Hurston's characteristics and the ones I added in relation to one of Hurston's most innovative works, Their Eyes Were Watching God. In this novel, Janie, an African-American woman, explores life and womanhood through her interaction with the communities she lives in. Chapter Three, " Revelations: A Dance Story," discovers the power of story and community in Alvin Ailey's monumental ballet, Revelations. Through the genre of dance, Hurston's characteristics take on a very different dimension. Chapter Four, "Spirit'll Find a Way to Break Free!," explores the characteristics through a play adaptation of the award-winning book Mirandy and Brother Wind. As an adapted and staged book, Mirandy and Brother Wind conveys the relationships between literature, dance, and theatre. In conclusion, Chapter Five advocates the benefits of utilizing Hurston's essay to conduct performance studies research. These imaginative works illuminate the exchange between the African-American community and African-American performance, and Hurston's essay also provides a catalyst for creating African-American performance and a model for its analysis.