The Ballads of Gravity

During the 1960s and 1970s, the notion of American identity as performative was becoming increasingly evident in the works of African-American playwrights who were often presenting race as a series of roles based on cultural expectation rather than as an essential and stable core of being. The performative identity of the both black and white Americans weren’t just restricted to the discourse of self or the individual, but the identity which entertained the notion of race enjoyed the freedom of African-American playwrights; they brought forth the issue of race beyond the cultural expectations making the voice heard of the marginalized. Playwrights such as Amiri Baraka , Ed Bullins and Ron Milner, Black Arts movement- a social , political and artistic movement. Baraka wanted a theater that would be honest about the African-American experience, which would abuse and accuse that can be abused and accused. Almost all his works belong to the ‘Theater of Assault’ whic

No one but the king of Atlantis lived there. The king ruled over the land of gods and muses. The residents of the land were fantasies and memories. The apparitions of them floated over the land.  Two cities, Holy and  Wrath, were seen from the temples and palace of Atlantis. The hemisphere around the land was surrounded by the mystic lands of unknown existences. From Atlantis nothing but the soul sailed forth the cities of mysteries and myths. Each temple in Atlantis represented the mystic lands. Travelers were shown the Chambers by the king from where they witnessed the Might of the land. They stayed in the palace for nine days and left their bodies to the mystic abyss of Atlantis, while the soul sailed to their chosen destinies. Some of them made contracts in the temples of Atlantis with the rulers of mystic lands and they left the land for the fixed time. The king witnessed the choices and destinies of great souls. The great rulers of the mystic lands assigned him fore