Raquel Monroe received her Ph.D. from UCLA in Culture and Performance. She is an interdisciplinary performance scholar and artist whose research interests include black social dance, black feminisms, and popular culture. Monroe’s scholarship appears in the Journal of Pan-African Studies, the edited volumes Queer Dance, solo/black/woman: Performing Black Feminisms, and The Oxford Handbook: Dance and the Popular Screen. She is completing a manuscript that investigates how black feminist politics emerge through the dancing bodies of black female cultural producers in popular culture.
Dis/Unity: A Service, Monroe’s current performance collaboration with the Baker-Tarparga Project and artists across mediums, best articulates her desire to address issues of systemic oppression with diverse audiences. The performance installation is an immersive experience of sight, sound, and dance that supports the collective healing systemic oppression necessitates. She has also performed with choreographers David Roussève, Ana Maria Alvarez, and Marianne Kim.
In 2015, Monroe received the Excellence in Teaching Award from Columbia College Chicago, where she is an Associate Professor in Dance, and serves as the president of the Faculty Senate. She serves her field and community on the board of directors for the Collegium for African Diaspora Dance, the Society of Dance History Scholars, and the Chicago Free School.
Inspired by Yogic philosophy, her children’s book How I Became We best surmises how she strives to walk through the world.
February 14th, 2018 | 1 hr 5 mins
africa, black panther, marvel, ryan coogler, wakanda
From Wakanda to Zamunda and the many incarnations of a mostly whitewashed Egypt, why does Hollywood feel the need to invent a fictitious Africa, and how does that impact our interest in the stories that take place there?
January 8th, 2018 | 49 mins 4 secs
With the success of Spike Lee's Netflix series based on his 1986 film of the same name, SOF asks: does the success of "She's Gotta Have It?", HBO's "Insecure" and BET's "Being Mary Jane" signal the advent of modern and authentic black female representation on television?