This essay discusses decolonization, performance, and education in the 1970s in Jamaica and argues that embodied performances of humans existing at the margins of power are both compelling as and productive of new forms of knowledge because they teach us to challenge enduring colonial representations and create community in profound ways. Drawing on Sylvia Wynter’s work on colonial epistemologies and representation in relation to questions of race and decolonization and on Rex Nettleford’s discussion of embodiment and marronage, the author lays out a method of decolonial knowledge production and embodied performance and then reads the devising practice of Sistren Theatre Collective between 1977 and 1987 through these ideas.

You do not currently have access to this content.