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Daphne Brooks
Daphne Brooks (born 1968) is an American writer and black studies scholar who is William R. Kenan, Jr. professor of African American studies, American Studies, Women's, Gender and Sexuality Studies and Music at Yale University; she is also director of graduate studies. She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age.
She has written three books, Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Belknap Press, 2021), Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 (Duke University Press, 2006) and Jeff Buckley’s Grace (Continuum, 2005).
Brooks was born in Redwood City, California in 1968. Her parents moved to the San Francisco Bay Area in 1950. Brooks' father earned a B.A. in History and an M.A. in Education at the University of California. Brooks is the youngest of three children: her brother is seventeen years older and her sister is ten years older.
Brooks received a BA in English from University of California, Berkeley and an MA and a PhD (June 1997) in English from the University of California, Los Angeles.
Brooks's interest in black performance was developed from her passion for rock music since she was a child. She frequently turns to music criticism to find out how a rocker's music was different from others, and how a piece of music was influenced by culture to embody greater issues like cultural heterogeneity, race and gender because of her passion in black rock music and substantial exposure to African American literature by her family.
One of Brooks's research interests is exploring the significance of performance in the expression of black subjectivity. Brooks’ definition of performance studies:
To me, performance studies is a discipline that enables you to radically contextualize how we think about the production of culture and, as a black feminist scholar it enables me to think about the body and the corporeal as being central to our understanding of cultural production. So, what is performance studies? It’s thinking about embodiment as somehow enriching our understanding of text.
White audiences of the 19th and 20th centuries often perceived aspects of African American experience to be shaped by the perspective of white subjectivity, as their education was given and thus influenced by institutions led mostly by white people.
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Daphne Brooks
Daphne Brooks (born 1968) is an American writer and black studies scholar who is William R. Kenan, Jr. professor of African American studies, American Studies, Women's, Gender and Sexuality Studies and Music at Yale University; she is also director of graduate studies. She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age.
She has written three books, Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Belknap Press, 2021), Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 (Duke University Press, 2006) and Jeff Buckley’s Grace (Continuum, 2005).
Brooks was born in Redwood City, California in 1968. Her parents moved to the San Francisco Bay Area in 1950. Brooks' father earned a B.A. in History and an M.A. in Education at the University of California. Brooks is the youngest of three children: her brother is seventeen years older and her sister is ten years older.
Brooks received a BA in English from University of California, Berkeley and an MA and a PhD (June 1997) in English from the University of California, Los Angeles.
Brooks's interest in black performance was developed from her passion for rock music since she was a child. She frequently turns to music criticism to find out how a rocker's music was different from others, and how a piece of music was influenced by culture to embody greater issues like cultural heterogeneity, race and gender because of her passion in black rock music and substantial exposure to African American literature by her family.
One of Brooks's research interests is exploring the significance of performance in the expression of black subjectivity. Brooks’ definition of performance studies:
To me, performance studies is a discipline that enables you to radically contextualize how we think about the production of culture and, as a black feminist scholar it enables me to think about the body and the corporeal as being central to our understanding of cultural production. So, what is performance studies? It’s thinking about embodiment as somehow enriching our understanding of text.
White audiences of the 19th and 20th centuries often perceived aspects of African American experience to be shaped by the perspective of white subjectivity, as their education was given and thus influenced by institutions led mostly by white people.
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