Harrison identifies the rhythmic, onomatopoetic, incantatory use of language in cultures as diverse as South Africa and the South Bronx as the unifying--and liberating--aesthetic principle of modern black dramaturgy.
Harrison identifies the rhythmic, onomatopoetic, incantatory use of language in cultures as diverse as South Africa and the South Bronx as the unifying–and liberating–aesthetic principle of modern black dramaturgy.
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