{"id":740,"date":"2023-11-11T18:32:50","date_gmt":"2023-11-11T18:32:50","guid":{"rendered":"https:\/\/live-usc-dornsife.pantheonsite.io\/goldlinepress\/?page_id=740"},"modified":"2023-11-21T22:21:48","modified_gmt":"2023-11-21T22:21:48","slug":"ghostgestures","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/goldlinepress\/ghostgestures\/","title":{"rendered":"(GHOST GESTURES)"},"content":{"rendered":" \n\n \n \n \n\n\n\n\n\n\n\n
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\n by Gabrielle Civil\n <\/h2>\n\n\n<\/div>\n \n <\/div>\n \n
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\n ADD TO CART<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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ISBN: 978-1-938900-38-9
\nPublication date: July 2021
\n50 pages, 5.3\u201d x 7\u201d
\nRead Press Release (PDF)<\/a><\/p>\n

SYNOPSIS<\/strong><\/p>\n

How can you return to where you\u2019ve never been?\u00a0(ghost gestures) <\/em>conjures diaspora hauntings and traces black bodies across space and time. In Dakar and Banjul, Detroit and Montreal, Tlaxcala and R\u00edo Pi\u00e9dras, Gabrielle Civil showcases black bodies dancing, hiding, and re-emerging. In performance writing, she invokes the doll, the queen, and the ghost to explore where black women have never and always been. She plays hide-and-seek with her own transforming body and tackles history, identity, art, and desire. \u201cbring this here\/ bring this back\/ keep this here\/ bring us back\/ bring us here \/ bring us back to this.\u201d Incorporating chants, notations, images, and scores,\u00a0( ghost gestures )<\/em>\u00a0will spirit you away.<\/address>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n
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EXCERPT<\/strong><\/address>\n
\u00a0<\/address>\n
From \u201cthe queen\u201d<\/address>\n
\u00a0<\/address>\n
my working definition of caribbean<\/address>\n
performance art:<\/address>\n
to hunger. to take and consume. to offer.<\/address>\n
to sacrifice.<\/address>\n
\u00a0<\/address>\n
to retain. to retch. to feel belly full.<\/address>\n
to throw it back.<\/address>\n
\u00a0<\/address>\n
to exhibit oneself. to body as mas.<\/address>\n
to make before now.<\/address>\n
\u00a0<\/address>\n
to think as in clamoring into clothes.<\/address>\n
to deny nostalgia.<\/address>\n
\u00a0<\/address>\n
to confiscate treasure. to decorate.<\/address>\n
to order to feast.<\/address>\n
\u00a0<\/address>\n
to see one\u2019s own skin as ordinary time.<\/address>\n
to flare nostrils.<\/address>\n
\u00a0<\/address>\n
to err in kindness. to erase. to bloodfish.<\/address>\n
to scholarship.<\/address>\n
\u00a0<\/address>\n
to open your body like a stalk. to open<\/address>\n
your chest like a clock.<\/address>\n
\u00a0<\/address>\n
to unstalk. to nibble gnaw devour<\/address>\n
from the inside.<\/address>\n
\u00a0<\/address>\n
to hang the skin. to talk out the side<\/address>\n
of the neck.<\/address>\n
\u00a0<\/address>\n
to talk one thing to talk the other. to decorate<\/address>\n
the wound.<\/address>\n
\u00a0<\/address>\n
to eat. to serve. to crawl back in. to burn<\/address>\n
finally alive<\/address>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n <\/div>\n\n \n
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PRAISE<\/strong><\/p>\n

\u201c(ghost gestures)\u00a0<\/i>is a complex work that starts to oscillate, the more it gets to what it is: about. Lateral shifts appear on the page as this writer engages race, mimicry, migration, and desire as core themes, so rapidly that the chapbook’s distension, the way this writing changes what a chapbook is, becomes a part of what it is to read it. That: \u2018struggle,\u2019 or: \u2018blur.\u2019 When a queen becomes an effigy, the writer asks us to consider, as a working definition of Caribbean performance art: what it might be to \u2018burn finally alive.\u2019 All of this works together to create an experience of world-contact through micro-movements, kinesthesia, the body’s trace as much as its on-going being. The ghost gestures are experienced as fully, in other words, as they\u00a0might be\u00a0<\/i>experienced. This is a philosophy of performance that the writer elaborates for us: \u2018The performance texts here serve as past projections, transcriptions and scores.\u2019 Yes. How do you choreograph notes so they magnetize their own columnar, prehensile order?\u00a0Like this.\u201d<\/i><\/p>\n

Bhanu Kapil<\/strong><\/p>\n

2019 Gold Line Press Nonfiction Chapbook Contest Judge<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n <\/div>\n\n \n

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AUTHOR<\/strong><\/p>\n

Gabrielle Civil<\/strong>\u00a0is a black feminist performance artist, poet, and writer, originally from Detroit MI. She has premiered fifty original performance art works around the world including in Puerto Rico, The Gambia, Ghana, Canada, Zimbabwe, and Mexico where she lived as a Fulbright Fellow. She is the author of the performance memoirs\u00a0Swallow the Fish\u00a0<\/i>(2017) and\u00a0Experiments in Joy<\/i>\u00a0(2019). A 2019 Rema Hort Mann LA Emerging Artist, she teaches creative writing and critical studies at the California Institute of the Arts. The aim of her work is to open up space.<\/p>\n

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DESIGNER<\/strong><\/p>\n

Book design by\u00a0Kenji C. Liu<\/a>.<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n <\/div>\n\n \n <\/div>\n \n\n <\/div><\/div>\n\n\n \n \n\n\n\n\n\n\n\n

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