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{{short description|21st-century American historian}}
{{Short description|American historian (born 1974)}}
{{Infobox academic
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| honorific_prefix = <!-- see [[MOS:CREDENTIAL]] and [[MOS:HONORIFIC]] -->
| name = Tavia Nyong'o
| name = Tavia Nyong'o
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| title = Professor of African American Studies, [[American Studies]] and Theater and Performance Studies
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'''Tavia Nyong'o''' is an [[United States|American]] cultural critic, historian and performance studies scholar.


He is currently a Professor of [[American Studies]] at [[Yale University]] where he teaches courses on [[African diaspora|black diaspora]] performance, cultural studies, social and critical theory. Prior to his appointment at Yale, Nyong'o taught in the Department of Performance Studies at [[New York University]].
'''Tavia Nyong'o''' (born 1974){{citation needed|date=April 2022}} is a critic and scholar of art and performance. He is William Lampson professor of African American studies, [[American Studies|American studies]] and theater and performance studies at [[Yale University]] where he teaches courses on [[African diaspora|black diaspora]] performance, cultural studies, and critical and aesthetic theory.


== Education ==
⚫
Nyong'o received his B.A. from [[Wesleyan University]]. He then received a [[Marshall Scholarship]] to study at the [[University of Birmingham]]. In 2003, he received his PhD in American Studies from [[Yale]], where he studied under the mentorship of [[Paul Gilroy]] and [[Joseph Roach]]. Nyong'o was the 2004 runner-up for the Ralph Henry Gabriel Dissertation Award given by the [[American Studies Association]] annually for the best doctoral dissertation written in the field of American Studies. His book, ''The Amalgamation Waltz: Race, Performance, and the Ruses of Memory'', is published by the [[University of Minnesota Press]] (2009), and won the Errol Hill Award.<ref>{{cite web |title=Errol Hill Awards |url=https://www.astr.org/page/AwardWinnerArchive#errolhill |website=ASTR |accessdate=28 February 2019}}</ref>
{{BLP unsourced section|date=April 2022}}
⚫
Nyong'o received his B.A. from [[Wesleyan University]]. He then received a [[Marshall Scholarship]] to study at the [[University of Birmingham]] (England). In 2003, he received his PhD in American studies from [[Yale]], where he studied under the mentorship of [[Paul Gilroy]] and [[Joseph Roach]]. Nyong'o was the 2004 runner-up for the [[Ralph Henry Gabriel]] Dissertation Award given by the [[American Studies Association]] annually for the best doctoral dissertation written in the field of American studies.


== Career ==
In addition, Nyong'o has published articles in ''[[The Nation]]'',<ref>[http://www.thenation.com/doc/20080121/nyongo Kenya's Rigged Election<!-- Bot generated title -->]</ref> ''[[n+1]]'', the ''[[Yale Journal of Criticism]]'', ''[[Social Text]]'', ''[[Theatre Journal]]'', ''Performance Research'', ''[[GLQ: A Journal of Lesbian and Gay Studies|GLQ]]'', and ''[[Women and Performance]]''. He has written on racial kitsch, televised politics, [[Afro-punk]] aesthetics, and on African American historical memory.
Nyong'o is professor of African American studies, [[American Studies|American studies]] and theater and performance studies at [[Yale University]]<ref name=":0">{{Cite web|title=Tavia Nyong'o {{!}} Theater and Performance Studies|url=https://theaterstudies.yale.edu/people/tavia-nyongo|access-date=2020-12-25|website=theaterstudies.yale.edu|language=en}}</ref> where he teaches courses on [[African diaspora|black diaspora]] performance, cultural studies, social and critical theory. Prior to his appointment at Yale, Nyong'o taught in the Department of Performance Studies at [[New York University]].<ref name=":0" />


His book, ''The Amalgamation Waltz: Race, Performance, and the Ruses of Memory'', is published by the [[University of Minnesota Press]] (2009),<ref>{{Cite journal|last=Dagbovie|first=Sika Alaine|date=2011-03-22|title=Tavia Nyong'o. The Amalgamation Waltz: Race, Performance, and the Ruses of Memory|url=https://go.gale.com/ps/i.do?p=AONE&sw=w&issn=10624783&v=2.1&it=r&id=GALE%7CA278172241&sid=googleScholar&linkaccess=abs|journal=African American Review|language=en|volume=44|issue=1–2|pages=317–320|doi=10.1353/afa.2011.0017|s2cid=161805360}}</ref><ref>{{Cite journal|last=Paulin|first=Diana R.|date=2012-03-01|title=Amalgamation waltz: Race, performance, and the ruses of memory, by Tavia Nyong|url=https://doi.org/10.1080/0740770X.2012.685400|journal=Women & Performance: A Journal of Feminist Theory|volume=22|issue=1|pages=151–154|doi=10.1080/0740770X.2012.685400|s2cid=194095457|issn=0740-770X}}</ref><ref>{{Cite journal|last=JONES|first=DOUGLAS A.|date=2011|title=Review of THE AMALGAMATION WALTZ: RACE, PERFORMANCE, AND THE RUSES OF MEMORY|url=https://www.jstor.org/stable/41307521|journal=Theatre Journal|volume=63|issue=1|pages=136–138|doi=10.1353/tj.2011.0003|jstor=41307521|s2cid=194946360|issn=0192-2882}}</ref><ref>{{Cite journal|last=Colbert|first=Soyica D.|date=2012-02-24|title=The Scene of Harlem Cabaret: Race, Sexuality, Performance, and: The Amalgamation Waltz: Race, Performance, and the Ruses of Memory (review)|url=https://muse.jhu.edu/article/466485|journal=TDR: The Drama Review|language=en|volume=56|issue=1|pages=158–160|doi=10.1162/DRAM_r_00151|issn=1531-4715}}</ref><ref>{{Cite journal|last=Zack|first=Naomi|date=2010-06-01|title=The Amalgamation Waltz: Race, Performance, and the Ruses of Memory|url=https://doi.org/10.1080/14664658.2010.481885|journal=American Nineteenth Century History|volume=11|issue=2|pages=269–270|doi=10.1080/14664658.2010.481885|s2cid=145226817|issn=1466-4658}}</ref><ref>{{Cite journal|last=Byrne|first=Kevin|date=November 2011|title=The Amalgamation Waltz: Race, Performance, and the Ruses of Memory. By Tavia Nyong'o. Minneapolis: University of Minnesota Press, 2009; pg. 248.|url=https://www.cambridge.org/core/journals/theatre-survey/article/abs/amalgamation-waltz-race-performance-and-the-ruses-of-memory-by-tavia-nyongo-minneapolis-university-of-minnesota-press-2009-pp-248-6750-cloth-2250-paper-embodying-black-experience-stillness-critical-memory-and-the-black-body-by-harvey-young-ann-arbor-university-of-michigan-press-2010-pp-272-8000-cloth-3250-paper/117482863C6A92D4A23FF7F5B490A14B|journal=Theatre Survey|language=en|volume=52|issue=2|pages=348–351|doi=10.1017/S0040557411000482|issn=1475-4533}}</ref><ref>{{Cite journal|last=Raimondo|first=Meredith|date=2010-01-01|title=Review: The Amalgamation Waltz: Race, Performance, And The Ruses Of Memory|url=https://digitalcommons.oberlin.edu/faculty_schol/1530|journal=Contemporary Theatre Review|doi=10.1080/10486801003684290|s2cid=218547674}}</ref><ref>{{Cite journal|last=Colbert|first=Soyica D.|date=2012-02-13|title=The Scene of Harlem Cabaret: Race, Sexuality, Performance. By Shane Vogel. Chicago: University of Chicago Press, 2009; 257 pp. $60.00 cloth, $17.00 paper. The Amalgamation Waltz: Race, Performance, and the Ruses of Memory. By Tavia Nyong'o. Minneapolis: University of Minnesota Press, 2009; 230 pp. $67.50 cloth, $17.82 paper|url=https://doi.org/10.1162/DRAM_r_00151|journal=TDR/The Drama Review|volume=56|issue=1|pages=158–160|doi=10.1162/DRAM_r_00151|issn=1054-2043}}</ref> and won the Errol Hill Award.<ref>{{cite web |title=Errol Hill Awards |url=https://www.astr.org/page/AwardWinnerArchive#errolhill |website=ASTR |access-date= 2019-02-28}}</ref>
He is a cousin of [[Academy Award]] winning actress [[Lupita Nyong'o]].{{citation needed|date=March 2019}}


In addition, Nyong'o has published articles in ''[[The Nation]]'',<ref>{{cite web|url=https://www.thenation.com/article/archive/kenyas-rigged-election/ |title=Kenya's Rigged Election|website=The Nation|first=Tavia|last=Nyong'o|date=2008-01-03|access-date=2022-09-18}}</ref> ''[[n+1]]'', the ''[[Yale Journal of Criticism]]'', ''[[Social Text]]'', ''[[Theatre Journal]]'',<ref>{{cite journal|last1=Nyong'o|first1=Tavia|date=2005|title=Black Theatre's Closet Drama|url=http://www.jstor.org/stable/25069722|journal=Theatre Journal|volume=57|issue=4|pages=590–92|doi=10.1353/tj.2006.0037 |jstor=25069722 |access-date=2022-11-24}}</ref> and ''[[GLQ: A Journal of Lesbian and Gay Studies|GLQ]]''.{{citation needed|date=April 2022}}
==Writing==
Tavia Nyong'o is the author of the essay "'I've Got You Under My Skin' Queer Assemblages, Lyrical Nostalgia and the African Diaspora". In his essay, Nyong'o explores the meaning of the word "diaspora". He is especially interested in the translocal community-building potential, of music, but worries that the very mobilizing and empowering aspects of diasporic music—a channel of community belonging—also divides and destroys communities.<ref>Tavia Nyong'o (2007) ‘I've Got You Under My Skin’ Queer assemblages, lyrical nostalgia and the African diaspora, Performance Research: A Journal of the Performing Arts, 12:3, 42-54</ref> He writes, "The close affiliation of popular music with seduction, romance and sex speaks to the anxiety with which queerness is policed within it."<ref>Tavia Nyong'o (2007) ‘I've Got You Under My Skin’ Queer assemblages, lyrical nostalgia and the African diaspora, Performance Research: A Journal of the Performing Arts, 12:3, p. 48</ref>


== Personal life ==
Nyong'o's most recent monograph is entitled ''Afro-Fabulations: The Queer Drama of Black Life'', published in November 2018. The book is a cultural history and critical reading of different modern and contemporary black cultural products in various media. From fiction to photography and artificial intelligence, Nyong'o reads and argues for political potential in and poetic power of black cultural imagination. The work thus critiques genealogies and discourses that do not uphold or acknowledge the creative potential of blackness to exist beyond conditions of death and violence.
Nyong'o, who is of [[Luo people|Luo]] heritage, was born in the [[Midwestern United States]], and raised there and in [[Kenya]].<ref>{{cite web | url=https://ezrastiles.yalecollege.yale.edu/tavia-nyongo | title=Tavia Nyong'o &#124; Ezra Stiles College }}</ref> He is a cousin of [[Academy Award]] winning actress [[Lupita Nyong'o]].<ref>{{Cite web|last1=Cowles|first1=Charlotte|last2=Holmes|first2=Sally|date=2013-10-18|title=A Primer: Lupita Nyong'o, Gorgeous Rising Star|url=https://www.thecut.com/2013/10/primer-lupita-nyongo-gorgeous-rising-star.html|access-date=2020-12-25|website=The Cut|publisher=New York Magazine|language=en-us}}</ref>

Art, and especially Black Queer art, is thus not only a response to or reflection of racism, violence, and death; it rather has the potential to change and exceed these conditions towards a critical state of "fabulation" that cannot be captured, constrained or killed. Nyong'o's close reading of literary texts, photos and fictitious supernatural characters, mobilizes performance and imagination as the main emblems of that fabulation, in order to refuse erasure from cultural memory and assert its presence and futurity against and beyond suffering.

''Afro-Fabulations'' takes up [[Saidiya Hartman|Saidiya Hartman's]] method of [[Saidiya_Hartman#Theoretical_concepts|critical fabulation]] to articulate "how to do things with black queer and trans archives;" in other words, Nyong'o explores the means through which queer of color cultural production rearranges and unsettles teleological narratives and reworks the conditions of subjugation by subverting truth and falsity to envision and activate a living otherwise.<ref>{{cite book |last1=Nyong'o |first1=Tavia |title=Afro-Fabulations: The Queer Drama of Black Life |date=2019 |publisher=NYU Press |location=New York |page=13, 19}}</ref> To this end, Nyong'o posits the term "angular sociality" which he define as "a mode of black temporality" that "names a dynamic interaction or entanglement of bodies, each keeping their own time" Angular sociality is, in part, a critique of the antirelational thesis in queer theory insofar that, for Nyong'o, "black performance is always already a relational theory and an emancipatory figure at the center of every social struggle."<ref>{{cite book |last1=Nyong'o |first1=Tavia |title=Afro-Fabulations: The Queer Drama of Black Life |date=2019 |publisher=NYU Press |location=New York |page=23, 203}}</ref> This entanglement of bodies necessarily include the deceased, or a living with death, that Nyong'o understands as necessary to articulate loss (redress as opposed to reparation), activating difficult but necessary relationships to the past against its erasure. Explicating the work of musician and performance artist [[Geo Wyeth]], for instance, Nyong'o understands this living with death and the violent past not as a radically transformative act which reorganizes normative modes or relations, but rather, as Wyeth states in an interview with the author, "deeper reminders of how close this is, and that makes room in some way for joy and makes room for the future, and makes room for laughing in some way at the absurdity of all this , this deluge of inherited structures."<ref>{{cite book |last1=Nyong'o |first1=Tavia |title=Afro-Fabulations: The Queer Drama of Black Life |date=2019 |publisher=NYU Press |location=New York |page=210}}</ref>


==References==
==References==
{{Reflist}}
<references/>


==External links==
==External links==
*[http://www.upress.umn.edu/Books/N/nyong%27o_amalgamation.html "The Amalgamation Waltz: Race, Performance, and the Ruses of Memory"]
*[http://www.upress.umn.edu/Books/N/nyong%27o_amalgamation.html "The Amalgamation Waltz: Race, Performance, and the Ruses of Memory"]
*[http://performance.tisch.nyu.edu/object/NyongoT.html NYU Performance Studies bio on Nyong'o] – accessed on 2007-05-15
*[http://performance.tisch.nyu.edu/object/NyongoT.html NYU Performance Studies bio on Nyong'o] – accessed on 2007-05-15
*[http://nyongo.wordpress.com Nyongo's CV]
*[http://www.georgetown.edu/crossroads/AmericanStudiesAssn/about/prizes.htm#Gabriel Ralph Henry Gabriel Dissertation Award]
*[http://www.georgetown.edu/crossroads/AmericanStudiesAssn/about/prizes.htm#Gabriel Ralph Henry Gabriel Dissertation Award]


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{{DEFAULTSORT:Nyong'o, Tavia}}
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[[Category:1974 births]]
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[[Category:American people of Luo descent]]
[[Category:Cultural historians]]
[[Category:Living people]]
[[Category:Living people]]
[[Category:Cultural historians]]
[[Category:Luo people]]
[[Category:Wesleyan University alumni]]
[[Category:Wesleyan University alumni]]
[[Category:Yale University alumni]]
[[Category:Yale University alumni]]
[[Category:Year of birth missing (living people)]]
[[Category:Yale University faculty]]
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[[Category:Luo people]]

Latest revision as of 14:14, 29 September 2024

Tavia Nyong'o
Born1974 (age 49–50)
OccupationAcademic
TitleProfessor of African American Studies, American Studies and Theater and Performance Studies
RelativesLupita Nyong'o (cousin)
Academic background
EducationWesleyan University
Yale University
Academic work
InstitutionsYale University

Tavia Nyong'o (born 1974)[citation needed] is a critic and scholar of art and performance. He is William Lampson professor of African American studies, American studies and theater and performance studies at Yale University where he teaches courses on black diaspora performance, cultural studies, and critical and aesthetic theory.

Education

[edit]

Nyong'o received his B.A. from Wesleyan University. He then received a Marshall Scholarship to study at the University of Birmingham (England). In 2003, he received his PhD in American studies from Yale, where he studied under the mentorship of Paul Gilroy and Joseph Roach. Nyong'o was the 2004 runner-up for the Ralph Henry Gabriel Dissertation Award given by the American Studies Association annually for the best doctoral dissertation written in the field of American studies.

Career

[edit]

Nyong'o is professor of African American studies, American studies and theater and performance studies at Yale University[1] where he teaches courses on black diaspora performance, cultural studies, social and critical theory. Prior to his appointment at Yale, Nyong'o taught in the Department of Performance Studies at New York University.[1]

His book, The Amalgamation Waltz: Race, Performance, and the Ruses of Memory, is published by the University of Minnesota Press (2009),[2][3][4][5][6][7][8][9] and won the Errol Hill Award.[10]

In addition, Nyong'o has published articles in The Nation,[11] n+1, the Yale Journal of Criticism, Social Text, Theatre Journal,[12] and GLQ.[citation needed]

Personal life

[edit]

Nyong'o, who is of Luo heritage, was born in the Midwestern United States, and raised there and in Kenya.[13] He is a cousin of Academy Award winning actress Lupita Nyong'o.[14]

References

[edit]
  1. ^ a b "Tavia Nyong'o | Theater and Performance Studies". theaterstudies.yale.edu. Retrieved 2020-12-25.
  2. ^ Dagbovie, Sika Alaine (2011-03-22). "Tavia Nyong'o. The Amalgamation Waltz: Race, Performance, and the Ruses of Memory". African American Review. 44 (1–2): 317–320. doi:10.1353/afa.2011.0017. S2CID 161805360.
  3. ^ Paulin, Diana R. (2012-03-01). "Amalgamation waltz: Race, performance, and the ruses of memory, by Tavia Nyong". Women & Performance: A Journal of Feminist Theory. 22 (1): 151–154. doi:10.1080/0740770X.2012.685400. ISSN 0740-770X. S2CID 194095457.
  4. ^ JONES, DOUGLAS A. (2011). "Review of THE AMALGAMATION WALTZ: RACE, PERFORMANCE, AND THE RUSES OF MEMORY". Theatre Journal. 63 (1): 136–138. doi:10.1353/tj.2011.0003. ISSN 0192-2882. JSTOR 41307521. S2CID 194946360.
  5. ^ Colbert, Soyica D. (2012-02-24). "The Scene of Harlem Cabaret: Race, Sexuality, Performance, and: The Amalgamation Waltz: Race, Performance, and the Ruses of Memory (review)". TDR: The Drama Review. 56 (1): 158–160. doi:10.1162/DRAM_r_00151. ISSN 1531-4715.
  6. ^ Zack, Naomi (2010-06-01). "The Amalgamation Waltz: Race, Performance, and the Ruses of Memory". American Nineteenth Century History. 11 (2): 269–270. doi:10.1080/14664658.2010.481885. ISSN 1466-4658. S2CID 145226817.
  7. ^ Byrne, Kevin (November 2011). "The Amalgamation Waltz: Race, Performance, and the Ruses of Memory. By Tavia Nyong'o. Minneapolis: University of Minnesota Press, 2009; pg. 248". Theatre Survey. 52 (2): 348–351. doi:10.1017/S0040557411000482. ISSN 1475-4533.
  8. ^ Raimondo, Meredith (2010-01-01). "Review: The Amalgamation Waltz: Race, Performance, And The Ruses Of Memory". Contemporary Theatre Review. doi:10.1080/10486801003684290. S2CID 218547674.
  9. ^ Colbert, Soyica D. (2012-02-13). "The Scene of Harlem Cabaret: Race, Sexuality, Performance. By Shane Vogel. Chicago: University of Chicago Press, 2009; 257 pp. $60.00 cloth, $17.00 paper. The Amalgamation Waltz: Race, Performance, and the Ruses of Memory. By Tavia Nyong'o. Minneapolis: University of Minnesota Press, 2009; 230 pp. $67.50 cloth, $17.82 paper". TDR/The Drama Review. 56 (1): 158–160. doi:10.1162/DRAM_r_00151. ISSN 1054-2043.
  10. ^ "Errol Hill Awards". ASTR. Retrieved 2019-02-28.
  11. ^ Nyong'o, Tavia (2008-01-03). "Kenya's Rigged Election". The Nation. Retrieved 2022-09-18.
  12. ^ Nyong'o, Tavia (2005). "Black Theatre's Closet Drama". Theatre Journal. 57 (4): 590–92. doi:10.1353/tj.2006.0037. JSTOR 25069722. Retrieved 2022-11-24.
  13. ^ "Tavia Nyong'o | Ezra Stiles College".
  14. ^ Cowles, Charlotte; Holmes, Sally (2013-10-18). "A Primer: Lupita Nyong'o, Gorgeous Rising Star". The Cut. New York Magazine. Retrieved 2020-12-25.
[edit]
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