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Reading Zake: This Would Change Over Time

In the following passages from “why i had to dance//” Shange speaks of the relationship between her dancing and her writing process:

this is a critical moment/ when i decided that dance was as important to me as writing/ that in order to write, i had to sweat/ to reach some endorphin high to get to the truth/ which was the word/ this would change over time// (56)

in my early adulthood/ politics and the arts were truly wed at the hip or thereabouts// (57)

our commitment to the movement meant that all our resources intellectual as well as physical had to be dedicated to the liberation movement/ which is one of the reasons i had to dance/ (57)

it is possible to start a phrase with a word and end with a gesture/ that’s how i’ve lived my life/ that’s how i continue to study/ produce black art/ (58)

Edits in the Margins: Archive Find of the Week #2

First draft of “A Week-end in Austin/A Poet, the People, & the KKK” – dated 21 February 1983; labelled “not proofread” and “express property of Village Voice…”.

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I am interested in evidence of Shange’s self-revision and growth in her papers. Much of her archived work includes edits in the margins–notes, highlights, scratches, and communication with editors and readers. These images represent just some of the many edits and revisions in the Shange Papers, and point to just a few examples of her growth as an artist. In particular, she seems to be focused on including more italics here, which may point to themes or language she is hoping to emphasize in this piece, or more broadly at this time in her artistic development.