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This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.

For several years, the Black Lives Matter movement has been advocating for issues of racial justice and the representation of POC artists (people of colour)in the arts. However, it is a different kind of challenge to face up to systematic racial discrimination in Swedish society that claims itself to be both colourblindand antiracist. Contrary to the notion that if race is not mentioned, there cannot be racism, it may be argued that the performing arts in Sweden are notas open-minded and inclusive as often claimed. This article focuses on antiblackness and argues that although there are anti-racist performers and activistgroups who continually address racial injustice, the response from theatre institutions has been slow. It is suggested that the performing arts in Swedenneed to expand the representation of artists of colour, get better at detecting strategies of equality reluctance in theatre organisations, and improve a criticalunderstanding of hegemonic whiteness. They also must develop a politics of iintersectionality and accountability as an approach to new ways of thinking andacting.

For several years, the Black Lives Matter movement has been advocating for issues of racial justice and the representation of POC artists (people of colour)in the arts. However, it is a different kind of challenge to face up to systematic racial discrimination in Swedish society that claims itself to be both colourblindand antiracist. Contrary to the notion that if race is not mentioned, there cannot be racism, it may be argued that the performing arts in Sweden are notas open-minded and inclusive as often claimed. This article focuses on antiblackness and argues that although there are anti-racist performers and activistgroups who continually address racial injustice, the response from theatre institutions has been slow. It is suggested that the performing arts in Swedenneed to expand the representation of artists of colour, get better at detecting strategies of equality reluctance in theatre organisations, and improve a criticalunderstanding of hegemonic whiteness. They also must develop a politics of iintersectionality and accountability as an approach to new ways of thinking andacting.

Using the "firsts" and the work of the Swedish designers Iman Aldebe and Faduma Aden as examples, this essay argues that in adopting modest fashionas feminist strategy of conspicuous visibility and a means of pushing back against sexism and racism in the West, they have made a major contribution to create space for Muslim women and started conversations relevant to Muslim women's lives. The concept of modest fashion embraces many different styles, and as its name suggests, it refers to clothing that conceals rather than delineates the contours of the human body (Lewis, 2013, 2015; Moors & Tarlo, 2013; Suterwalla, 2016). This essay also argues that it is through representation that societal subjects are created and they do not exist without visibility. As Stuart Hall (1997) has pointed out, representation is the production of meaning through language referring to either the real world of objects, people or events, or to imaginary worlds offictional objects, people, and events. Nevertheless, representation and performance are not synonymous. Representation needs to be performed, i.e. embodied, in order to make sense.

This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.

Rune Gade og Anne Jerslev (red.): Performative Realism. Interdisciplinary Studies in Art and Media. Museum Tusculanums Forlag, 2005.Henning Bech: Kvinder og mænd. Hans Reitzels Forlag, 2005.Dag Heede: Hjertebrødre: Krigen om H. C. Andersens seksualitet. Syddansk Universitetsforlag, Odense, 2005.