"Opera can simultaneously convey not only the approval and reinscription of the cultural and socio-political status quo through its aural and visual regimes of beauty and repulsion . . . "
"To do so, she takes recourse to Frantz Fanon’s writings and sees the postcolonial city as a 'zone of occult instability' in which desire and power lock horns to produce a Manichean city, with its attendant dangers and potentialities."
"The decolonization of any process . . . is a reconsideration of who should and should not have power. When a young, white, privileged doctor tells an African American family who has lost its third son to violence to get a grip on their grief . . .
