Jasmine Jamillah Mahmoud

performance geographer

Academic Writing


Makeshift Chicago Stages: A Century of Theater and Performance edited by Megan E. Geigner, Stuart J. Hecht, and Jasmine Jamillah Mahmoud. Evanston, IL: Northwestern University Press, 2021.


Dancing, Walking, and Brace: Black performance in Seattle emerging from the pandemics,” in Movement Research Performance Journal #56, Summer 2022.

Sighting Segregation Black aesthetics and the materiality of art in St. Louis and Ferguson,” in The Material World of Modern Segregation edited by Iver Bernstein and Heidi Kolk, 2022.

A book review of Worldmaking: Race, Performance, and the Work of Creativity by Dorinne K. Kondo. In TDR: The Drama Review 64.3 (2020): 179-181.

Space: Postdramatic Geography in Post-collapse Seattle,” in Postdramatic Theatre and Form. Edited by Michael Shane Boyle, Matt Cornish, and Brandon Woolf. London: Bloomsbury, 2019.

A book review of Drop Dead: Performance in Crisis, 1970s New York by Hillary Miller. In Modern Drama 61.1 (Spring 2018): 118-120.

An uncharted persistence: Alternative minoritarian theater in Chicago,” in Theater and Cultural Politics for a New World, An Anthology. Edited by Chinua Thelwell. London and New York: Routledge, 2017.

Right to the Artistic City: Performing Engagements Beyond Austerity in Post-Collapse Chicago” in the French Review of American Studies special issue Reclaiming the Right to the City in the American Metropolis. French Review of American Studies 148 (2016): 84-97.

Brooklyn’s Experimental Frontiers: A Performance Geography.” TDR: The Drama Review 58:3 (August 2014): 97-123.

‘What a Body Can do’: A praxis session by Ben Spatz, Zihan Loo, Christine Germain, Donia Mounsef, Ira Murfin, Justin Zullo & Krista DeNio.” Performance Research: A Journal of the Performing Arts. 19:3 (August 2014): 150-151.



Beyond Capitalist Value: Experimental persistence in the austere city.” Performance Research: A Journal of the Performing Arts 18: 2 (June 2013): 80-91.

Black love? Black love!: All Aboard the presence of punk in Seattle’s NighTraiN.” Women & Performance: a journal of feminist theory 22: 2-3 (November 2012): 315-323.