"Dancing as if Language no Longer Existed": Politics of Songs and Dance in Lynn Nottage's Ruined | ||||
| Miṣriqiyā | ||||
| Volume 2, Issue 2, October 2022, Page 50-68 PDF (875.71 K) | ||||
| Document Type: Original Article | ||||
| DOI: 10.21608/misj.2023.185293.1040 | ||||
 View on SCiNiTO | ||||
| Author | ||||
Muhammed Subhi Salama 
| ||||
| College of Arts and Humanities, Jazan University, Saudi Arabia | ||||
| Abstract | ||||
| One of the most notable African American playwrights in contemporary drama is the well-known American writer Lynn Nottage. Her play Ruined earned her the 2008 Pulitzer Prize for Drama. After her play was published, she gained a solid reputation as one of Africa's leading advocates for women's rights. This paper aims to explore how music and dance continue to contribute new and intricate levels of meaning to Nottage's Pulitzer Ruined (2008). This quality still distinguishes her as a playwright. Ruined is no exception because music is a recurring theme in Nottage's plays. Most frequently, they advance the plot, elaborate emotional interiority, strengthen bonds, promote the formation of bonds or their destruction, or speed up or emphasize plot elements. In other words, Nottage's Ruined might be understood as an effort to transcend language through dance, songs, and music, in which many of the broken women search for a place where they can exist honestly. This paper contends that Nottage allows us to consider the intricacy of writing and documenting acts of survival in ways that can capture the process of recognition and healing by offering songs to the women to communicate their grief and aspirations. Embodiment in dance and music provides us with new ways to process our emotions and transforms a drama that might otherwise be sad, harsh, and violent into a tale of hope, resiliency, and, to some level, sorority. In a manner that words cannot, songs and dance in Ruined provide a chance to comprehend the characters' identities better. | ||||
| Keywords | ||||
| Keywords: Lynn Nottage; songs; dance; Ruined; sexual assault; war | ||||
| Full Text | ||||
|
Muhammed Subhi Salama is an assistant professor of English, Jazan University, Saudi Arabia. He is affiliated with Almaraaf Higher Institute for Languages and Translation. He has published extensively on Martin McDonagh, Brian Friel, Conor McPherson, Amiri Baraka, Mahesh Dattani and on American playwrights like Lynn Nottage and others. | ||||
| References | ||||
|
Buckner, Jocelyn. "'Sustaining the Complexity' of Lynn Nottage." A Critical Companion to Lynn Nottage. Ed. 5-9. Jocelyn Buckner. New York: Routledge, 2016.
Destruction of the Vagina in Violent Rape: A War Crime in Congo." Reproductive Health Matters 12, no. 23 (2004): 181-182.
Garcia, Carmen. “This is my place, Mama Nadi’s”: Feminine Spaces and Identity in Lynn Nottage´s Ruined. Investigaciones Feministas 2012, vol. 3 129-139
Gener, Randy. "Mama Nadi and Her Women." American Theatre 26 no. 3 (2009): 20-32.
Levett, Connie. "Gang Rape Used as a Weapon of War in Congo." Sydney Morning Herald. March 3, 2008.
Muhi, Maysoon. “Unspeakable Suffering”: Women’s Experience of Trauma in Lynn Nottage’s Ruined". Journal of University of Human Development (JUHD). Volume 5 No. 3(2019); DOI: 10.21928/juhd.v5n3y2019.pp91-96
Nottage, Lynn. Ruined. New York: Theatre Communications Group, 2009.
- - -.. (2012). "Why did I go to Africa to collect their stories? Because I had to". Retrieved from https://enoughproject.org/blog/lynn-nottage-why-did-i-go-africa-collect-their-stories-because-i-had.bMarch 22, 2012.
Puechguirbal, Nadine. "Women and War in the Democratic Republic of the Congo." Signs: Journal of Women in Culture and Society 28, no. 4 (2003): 1271-1281.
Whoriskey, Kate. "Introduction." In Ruined, Lynn Nottage, ix-xiii. New York: Theatre Communications Group, 2009. | ||||
|
Statistics Article View: 344 PDF Download: 189 |
||||
About the Author: 