Starting her career within the British Black Art movement in the 1980s, Sonia Boyce’s art practice has often been attached to drawing, collage and painting. Since the 1990s her work has extended toward video, photography and collaborative practices. The aim of this monograph is twofold: on the one hand, to discuss how her very specific way of linking collaborative practice to video is embedded within an art history genealogy of interdisciplinary practices; on the other, to analyze how her specific interest in Black feminism, cultural studies, film studies, art history and critical theory is embodied in her work.

The object is shaped by the voices of Adelaide Bannerman, Cecile Bargues, Jean Fisher, Sophie Orlando, Allison Thompson, and Sonia Boyce herself, focusing on several major collaborative performance-videos including Exquisite Cacophony, Paper Tiger Whisky Soap Theatre and Crop Over.

This publication was prepared in the context of the Sonia Boyce exhibition at Villa Arson in Nice, « Paper Tiger Whisky Soap Theatre (Dada Nice) », 31 January – 30 April, 2016.