From blackface minstrelsy to the Trinidad Carnival, from the Black Arts Aesthetic to the South African Black Consciousness theaters, Olaniyan cogently maps the terrains of a cultural struggle, and shows how dismissive attitudes towards Black performance forms often serve as shorthand for subordinating Black culture and corporeality. Olaniyan's analysis of Post-Afrocentric discourse will interest scholars and student in a number of disciplines: African and African American culture, theater and culture, and postcolonial studies.